In this chapter, the researcher reviewed the opinion of some past and recent writers on the subject and also added their own ideal under the following sub-headings:
- Conceptual frame work
- Theoretical frame work
- Empirical frame work
- Summary

2.1. CONCEPTUAL FRAME WORK
CONCEPT OF ZOOLOGICAL GARDEN

The concept zoological garden is a form of ex – situ conservation, which primarily involves keeping of animals alive outside their natural environment for aesthetic educational researches and recreational purpose (Varadharajan and Pythol 2000). Nigeria is blessed with abundant wildlife species which needs to be properly managed in a sustainable basis to prevent depletion (Opara et –al 2010). Hence the need to adapt strict management of resources, repopulation of endangered species and conservation of wildlife park and zoological garden and management strategies (Ajebede et – al 2010).
Throughout history, human have given value to other species of animals as means of entertainment, education and spirituality in addition to being source of food and clothing (front 2011, 69) collecting and exhibiting and exhibiting animals originated from Ancient Egypt where private collection were reserved for the higher class population as a symbol of wealth and power (wearing and jobberns 2011, 19 – 50). In the 1900’s, zoo’s based themselves as conservation movement, with focus on scientific study of endangered species. In the beginning of the 20th century, zoo became an attraction of mass audiences (Beardworth and Bryan 2001, 88). By the late 1900’s there was a shift in the natural of zoo with public attitude and interest changing nature and conservation, with concern for ecosystem and awareness as they protect endangered species (Wearing and Jobbern 2011, 50.

ROLES OF ZOOLOGICAL GARDEN
(Mason 2011, 189) reveal that the roles of zoo are:
a. Educating people about animals.
b. Conservation of endangered species
c. Safeguarding the welfare visitors
d. To generate revenue
e. Providing visitors facilities such as catering and merchandising
f. Re – introducing captive breeding into the wild and carrying out zoological and veterinary research to improve animal welfare in the wild and in captivity.
On the other hand, zoos served as scientific research, for example, zoologist learn more about animals habit and diseases by studying them in zoos studies of animals living kin zoo, together with examination of those that have died have provide zoologist with information about the structure and function of animal bodies (Usher M.B 2000). Keeping wildlife animals in captivity bring visitors from different parts of the world for different purposes such as to provide sources of recreation in the city, to provide biological specimen to constitutes, a learning resource for secondary school, colleges, and universities. It also provide employment and game reserve, provides sources of protein revenue, esthetics recreation, education and scientific values (Presley 2001). The captive animal propagation is one way of encouraging growth of depleted wildlife species population and so properly planned program of zoo establishment and development is considered as one of effective method for conservation of wildlife (Okpiri 2005). Educational environment study and conservation of the  environment have become a subject of major importance all over the world, not only from the point of view of preventing population, but also from the point of conserving water supplies by protecting water shed, conserving soil, vegetarian and Fauna. (Comphell 2007). Comphell also stated that conservation zoos can provide an important facility for research at both pure and applied levels in both the field and laboratory in colleges and universities. Bigot (2000) emphasized that the primary function of zoo curators is to make visit a leaving experience. The attention and effort given to wildlife conservation and tourism in both state and federal levels have been noted.

CONCEPT OF TOURISM
According to UNWTO 2020 defined as the study of man away from his usual habitat. Activities of a person traveling to and staying in places outside their usual environment for not more than one consecutive year for leisure, business and other purposes, tourism contributes to specie conservation, communities project in developing countries like: Nigeria, environmental education, awareness and economies development (Klutzy, 2000). Filton et al (2000) reported that 20 – 40 percent of international tourism is related to wildlife. In Nigeria, tourism contributed 3.3 percent of total GDP in 2011 with forecast of a 10.8 percent increase for 2012 (WTTC 2012). Smith et al (2012) recognized the role of wildlife tourism as building breeding species management and influencing visitor’s behavior for the benefit of wild animals. Fibs (2007) underscored the value of zoo visitors and their feedbacks for the planning and designing of zoo and more importantly to decision making in zoo management by showing on – going treads. He therefore stands to reason that visitors’ preferences should be seriously considered by policy makers and management of zoo and other similar institutions. An area in which visitors’ preference is highly important for a zoo in particular is choice of animals desired. Woods (2000) observed that humans have definite preference for different species of animals. Knowledge of visitors desires in terms of animals and the features that make the animals appealing will assist zoo management in animal acquisition and also in development of education and interpretation programs listening physical features, behavioral characteristics as factors influencing animals preference (Wood 2000, Wentworth 2012). Wild tourism can be described as tourism undertaken to view and or encounter non – domesticated animals in captive, semi – captive or in their natural environment (CRC 2001, Newsome et al 2005). According to Durbary (2004), it could be non consumptive such as viewing, photographing and fishing.

CONCEPT OF ZOO AND EDUCATION
In zoo and education, a study by Patricia et al 2007 states that conservation and education are key elements in the mission statement of zoos. A survey conducted by the Association of zoo and aquarium (AZA) reveals that the general public rate conservation and education as the most important role of zoo (Frasers and Stickler 2008). Zoo primarily deals with three aspects of conservation practice i.e practice, advocacy and research. Conservation practice entails captive breeding, species rein-introduction programs, species survival plans and the use of zoo revenue for conservation programs in wild. Conservation advocacy include: public engagement, promoting awareness, advocacy, stewarding and fund raising events and schemes, a good example of which is like “Adopt animal scheme at most modern zoos”. Moreover, conservation research is conducted on wildlife biology, population dynamics, animal behavior, health and welfare and there are also publications generated by zoos animals care captivity. The preservation of animals in zoos makes it easier for more people to see them.
As well, zoos have been used to preserve various endangered species. However, zoos have become powerful educational tool for many scholars, biologists and researchers (Falk and Dierking 2000).  Individual who visit a zoo get the rare opportunity to examine the relationship between man and animal (Wagoner and Jenson 2010). Students can learn a lot about certain animals that might not be locally available. Many specimen and animals (Wagner and Jensen 2010) argue that zoo makes it possible for researchers to conduct their studies, for instance, researchers can use caged animals to make various observation about wildlife or animals. The acquired knowledge can be used to support the survival of the wild animals in their natural habitats. It is therefore agreeable that zoos have an important educational role in every society. This because, learning is ever – changing process (Falk and Dierking 2000). In the 1970’s the primary educational target for most American zoo was elementary level children. The idea was that building understanding would lead to appreciation which would eventually produce a generation that was concerned about wildlife and the environment (Wheatly 2000). Wheatly emphasized that although children are still a primary audience, zoos are extending themselves to reach many others audience that can make difference in action today. This initiative includes the membership, governance and employee of zoo.

CONCEPT OF ZOO AND CONSERVATION
In zoo and conservation, according to Max – Planck Gesell Chaft (2011), Zoology garden breeds animal from threatened populations and and thus makes greater contributions towards biodiversity conservation. According to UN (2020) on global biodiversity warned that 1 million species are at risk of extinction with decades, putting the world’s natural life support system in jeopardy. Unfortunately, loss of plants and animals habitat leads to from species extinctions and loss of diversity from ecosystem. Fortunately, not all of the extinctions occur at once. Conservation action may still be able to save threatened species (John M et al 2016). At October 2010, meeting of the Convention on Biological Diversity (CBD) in Nagoya, Japan, delegates discussed a plan to reduce pressure in the planet’s biodiversity. Key targets include expanding coverage of protected areas, halving the rate of loss of natural habitats, and preventing extinction of threatened species. Species whose habitat is severely threatened, however, the outlook is so bleak that the International Union for Conservation of Nature (IUCN), the US Endangered Species Act and the CBD (Article a) recognize that In-Situ conservation action (ie, in the species natural habitat) will need to be combined with Ex-Situ approaches, such as captive breeding in zoos, aquariums and so on (Conde et al 2011).

THE THEORETICAL FRAME WORK
The animal welfare and management (Dakin 2001) is a state of being that can be measured, recognized that its ranges from very poor to very good, introduces the concept of coping, allow measurement separate from moral consideration and refer to feeling as well as physical and psychological health. The definition of welfare that we use also emphasizes that it relates to an individual and thus welfare can differ between different members of the same species, even when exposed to the same condition (Horsey et al 2009). In the case of zoo animals, which have often come from very heterogeneous background, individuals may vary greatly in this previous life experiences and this can influence their ability to cope with certain challenges, by using each animal as its environment and thus an individual’s welfare can be measured.
There are also some species – specific characteristics that have evolved to enable animals cope with different, environment and thus we should also consider welfare at the species level; such species level adaptation could relate to dietary needs, hearing sensitivity, thermo-regulatory needs and so on. The theory of evolution by natural selection, first formulated in Darwin’s book “On the origin of species” in 1859, this theory states Organisms change over time as result of changes in heritable physical or behavioral traits. Changes that allow an organism to better adapt to its environment will help it to survive and have more offspring. The physical and behavioral changes that make natural selection possible happen at the level of DNA and gene, such changes are called Mutation. “Mutations are basically the raw materials on which evolution act. Pobiner said, mutation can be caused by random error in DNA replication or repair, or by chemical of radiation damage. According to Chinaka (2019) in the book concept of evolution, Charles Darwin proposed the concept of natural selection as the mechanism of evolution. The main postulates of Darwinism are:
1. Geometric increase: According to Darwinism, the populations tends to multiply geometrically and the reproductive powers of living organism (biotic potential) are much more than required to maintain their numbers.
2. Limited food and space
3. Struggle for existence
4. Variation etc
Both natural animal populations and those in captivity are subject to evolutionary forces. Evolutionary changes to captive populations may be an important, but poorly understood, factor that can affect the sustainability of these populations. The importance of maintaining the evolutionary integrity of zoo populations especially those that are used for conservation efforts including rein-introductions is critical for the conservation of biodiversity.
Greater appreciation for an evolutionary perspective may offer important insights that can enhance the reproductive success and health examples and associated strategies that highlight this approach, including minimizing domestication (ie genetic adaptation to captivity), integrating natural mating systems into captive breeding protocols, minimizing the effects of translocation on variation in photoperiods and understanding the interplay of parasites and pathogens and inflammation. Captive populations can adapt rapidly to captive environments through demonstration, in which human impose artificial selection in order to increase the prevalence of desired traits in the domesticated population.
For domestic animals, human breeders choose to breed only those individuals that thrive in the captive environments, leading to trans-generational changes that result in a population that is adapted to breed and survive in the conditions imposed by the breeders. Among captive population of animals, zoo populations are unique in that they are maintained to educate the public regarding wildlife and their habitat or to preserve critically endangered species through captive breeding and reinforcement program. Although assessment and preservation of genetic diversity is a top priority for most conservation breeding programs, fundamental to these goals is the maintenance of the genetic variation of these captive populations (Lacy 2009). Whether used to further educational or conservation goals, it is critically that these captive population are representative of the natural populations from which they are desired (Ashley et al 2003). However, maintaining captive population, such that they are reflective of the wild phenotype of the animals, can be challenging in zoos because of the mismatch the environments that the zoo population is originally from and the captive content in which they are been housed. Hendry et al 2015 carol et al 2014, for example, solitary animals with large territories that only encounter sexually mature counterparts during estrus may be housed in proximity of their mate year round, potentially leading to the behavioral issues, including ****** aggregation or ****** incompatibility. Other stressor can exist in captive environments for which animals are not adapted, including the acoustic environments, physical substrate and even availability of food (Morgan and Tromborg 2007). Minimizing the mismatch between the natural environment and the captive environment and they should limit the decline and poor performance of captive populations (Hendry et al 2011; Carrol et al 2014). Captive environments are very different from the wild and can impose different selection pressures that can lead to genetic adaptation in the captivity that affects behaviors (eg: temperaments; MC Douglas et al 2006), morphology (eg; size, skeletal morph metric O’ Regan and Kitchener 2005); and reproductive output (eg; age at ****** maturity, letter size). In particular populations of species with short generation times will adapt more rapidly to captivity than those with long generation time (Frankham 2008).
Social learning theory is the idea that children from observing. According to the learning theory, learning is based on social interaction with the environments (Nwamuo et al 2006). As children walk around the zoo, they are exposed to words and concepts. It also encourages dialogue between parents, siblings, friends and zoo guards (Jessica 2014)  visiting the zoo help the children and other visitors to understand the importance of taking care of the environments as it has a significant impact on lives and welfare of animals and importance of conservation and animal care which will never be forgotten. According to (Nwamuo et al 2006) social learning theory plays a big role in how people and especially learn. There are four elements to social learning theory including:
• Attention: Children can’t learn if they aren’t focused on the task. Students who see something unique or different are more likely to focus on it, helping to learn just as in zoo.
• Retention: people learn by internalizing information later when we can recall that information later when we respond to a situation in the same way which we saw.
• Reproduction: in the way we are able to reproduce our previously learn behavior or knowledge when it’s required. Practicing our response in our head or in action can improve the way we response.
• Motivation

Operant conditioning of behaviors theory of B.F Skinner, enclosure design and environmental enrichment strategies have all been suggested to improve the welfare of zoo animals by reducing stereotypical behavior and rein-introduction success of wildlife species. (WAZA 2015). Thus, the use of these strategies has important consequences for zoological collections. Despite the recognition and wild-scale implementation of such strategies, however, concerns around global zoo animal welfare remain and behavioral pathologies are common in many species. (Luhrs 2010) using operant conditioning, some of the barriers to delivering positive welfare experiences through holistic behavioral management strategies to zoo animals and make recommendations for institutional approaches towards improving zoo animal welfare using examples of Abnormal Repetitive Behaviors (ARBs) through targeted behavioral management.

EMPIRICAL FRAMEWORK
According to P.A Anadu (2000) on his study wildlife conservation in Nigeria: problems and strategy a case study of wildlife reserve of University of Benin, the major treats to nature conservation in Nigeria and he reviewed critically the measures adopted for the protection of wildlife. According the study, the major problem includes habitat degradation (through uncontrolled logging, agricultural projects, industrial plantations, highway and urban development’s and exploitation for fuel wood) over hunting and poaching.
He suggested that to protect wildlife include the creation of more game reserve, enactment of wildlife laws, signing of international treaties and manpower development. According to his research through interview with about 10 workers or staff of the wildlife reserve, the major treats to the area include poaching and hunting, indiscriminate feeling of forest trees, low funding, inadequate game laws and weak enforcement of the existing legal provisions.
It is suggested that the Federal Government should intervene more positively in favor of conservation by creating more national parks and assuming joint responsibility with the states for formulating wildlife laws. Furthermore, the role of nongovernmental organizations in influencing conservation policies and mobilizing public opinion will be cruial in different years ahead.
In the journal “A synopsis of wildlife conservation in Nigeria by Timothy A Afolaya  2009, this article emphasized the recent developments in the overall conservation program in Nigeria as it describes the important role which wildlife is playing in helping to feed the nation, in creating employment opportunities, in education in research, in recreation and in local medicine. Inadequately of Nigerian wildlife legislation and of the trained manpower to protect and manage the wildlife resources are among the crucial wildlife management problems identified. It is also stressed that the basic information for effective management is often lacking where Nigerian wildlife reserved are concerned. It also stressed that the main problems facing wildlife conservation in Nigeria include poaching, over exploitation, lack accurate data, bush burning that destroys wildlife habitat. There is adequate reliable database to facilitate forestry planning and development. Weak forest policy and implementation, forest policies lacks legal backing and hence its enforcement is difficult. The Nigeria forestry policy Act, 1937 is subsumed in the National Agricultural Policy of 1988. Forest tariffs are relatively low and are not revised frequently penalties under most laws are low and seldom enforced. It suggested that Nigeria forestry policy act should be reviewed or renew and encourage the government to implement the policies adequately and enforce penalties on the offenders.
Jonathan (2009) in his own study animal wildlife conservation under multiple land use system in Nigeria reveals that out of 6 selected zoological garden and game reserves in six geopolitical zones in Nigeria. The situation of wildlife in Nigeria is nevertheless different. Except in the Yankari, upper Ogun and Kwiabaha, Game Reserves and the Kainji lake National park, little efforts have been made to protect the Nigerian animal wildlife resources from human pressure and wide spread extinction. To many, what remains of the wildlife animals are best seen in the few state owned zoological gardens in Nigeria?
However, because most indigenous large animal species including Elephant, Buffalo, Chimpanzee, Gorilla, Rhinoceros, Leopard and Ostrich have not been able to reproduce in the various zoological garden so far, the hope to conserve this animals are brittle.
According to his work, animal wildlife is a declining resource in Nigeria because of unplanned land use practices. For example, land uses in game reserves are often conflicting and contradictory for land uses, timber extraction, hunting; food crop production and settlement are simultaneously going on in game reserves with little or no control measures and with no management plans. The excessive demands for land these conflicting uses have greatly disturbed the ecosystems involved, thus making the survival of the wild animals uncertain. Specially, the problems of wildlife conservation in Nigeria are:
a. Poaching
b. Indiscriminate burning of the vegetations
c. Uncontrolled grazing activities in the reserves
d. Intensive logging for domestic and industrial uses
e. Users rights on the reserves enjoyed by the traditional owners of the land before reservation
f. Lack of adequate fund to manage the reserve
g. Ineffective legislation
h. Lack of trained manpower
i. Urban sprawl
j. Infrastructural development of roads, electric and telegram lines and irrigation schemes.
k. Lack of modern enclosure or caging
l. Inability of animals to breed within the captive environment.

He then emphasized that the picture for Nigerian animal wildlife depends on the nation’s ability to conserve what is left either in their natural habitat or at least, in zoological gardens. The game reserve should be reduced to manageable numbers while state governments should win public sympathy through adequate conservation publicity and the provision of sufficient vehicles and personnel to manage the game reserves. The policy of land use in game reserves should be conducted on:
a. The number and species of animals hunted per year
b. The population of animals species in the game reserves and their habitat sustainability
c. The endangered and extinct animals species and specific reasons for the decline in their population
d. Human problems peculiar to each reserve and ways of minimizing them.
e. Establishment of rein-introduction programs.

SUMMARY
The establishment of zoos in a society is premised partly on the idea of bringing man close to wild animal’s species (Yager et al 2015). This establishment has various roles to play in the ecosystem and all endeavors of life. The role of zoological garden as well as wildlife conservation is as follows:
1. Education: zoos are established for the preservation of animal to make it easier for more people to see them and learn their characteristics and habitat. Zoo animals are used for specimens both for secondary schools students and tertiary institution as well as teaching the public the benefit of wildlife. A survey conducted by the Association of Zoos and Aquarium (AZA) reveals that, the general public rate conservation and education as the most important role of zoo (Fraser and Stickler 2008).
2. Conservation: of endangered species to avoid extinction of such animal.
3. Tourism:  it serves as a centre of tourism as people from different parts of the country visit to learn about nature at their leisure.
4. Generating revenue for the government as well as provides employment opportunities individuals etc
Most problems encountered in Nigerian zoos include:
• Poaching
• In availability of breeding species
• Lack of trained personnel’s
• Lack of fund by the Government
• Lack of infrastructure and conservation facilities.

PROLOGUE
               Hyde Park weekend of politics and pop,
Geldof’s gang of divas and mad hatters;
Sergeant Pepper only one heart beating,
resurrected by a once dead Beatle.
The ******, Queen and Irish juggernauts;
The Entertainer and dead bands
re-jigged for the sake of humanity.
   The almighty single named entities
all out for Africa and people power.
Olympics in the bag, a Waterloo
of celebrations in the street that night
Leaping and whooping in sheer delight
Nelson rocking in Trafalgar Square
The promised computer wonderlands
rising from the poisoned dead heart wasteland;
derelict, deserted, still festering.
The Brave Tomorrow in a world of hate.
The flame will be lit, magic rings aloft
and harmony will be our middle name.

On the seventh day of the seventh month,
Festival of the skilful Weaving girl;
the ‘war on terror’ just a tattered trope
drained and exhausted and put out of sight
in a dark corner of a darker shelf.
A power surge the first lie of the day.
Savagely woken from our pleasant dream
al Qa’ida opens up a new franchise
and a new frontier for terror to prowl.

               Howling sirens shatter morning’s progress
Hysterical screech of ambulances
and police cars trying to grip the road.
The oppressive drone of helicopters
gathering like the Furies in the sky;
Blair’s hubris is acknowledged by the gods.
Without warning the deadly game begins.

The Leviathan state machinery,
certain of its strength and authority,
with sheer balletic co-ordination,
steadies itself for a fine performance.
The new citizen army in ‘day glow’
take up their ‘Support Official’ roles,
like air raid wardens in the last big show;
feisty  yet firm, delivering every line
deep voiced and clearly to the whole theatre.
On cue, the Police fan out through Bloomsbury
clearing every emergency exit,
arresting and handcuffing surly streets,
locking down this ancient river city.
Fetching in fluorescent green costuming,
the old Bill nimbly Tangos and Foxtrots
the airways, Oscar, Charlie and Yankee
quickly reply with grid reference Echo;
Whiskey, Sierra, Quebec, November,
beam out from New Scotland Yard,
staccato, nearly lost in static space.
      
              LIVERPOOL STREET STATION
8.51 a.m. Circle Line

Shehezad Tanweer was born in England.
A migrant’s child of hope and better life,
dreaming of his future from his birth.
Only twenty two short years on this earth.
In a madrassah, Lahore, Pakistan,
he spent twelve weeks reading and rote learning
verses chosen from the sacred text.
Chanting the syllables, hour after hour,
swaying back and forth with the word rhythm,
like an underground train rocking the rails,
as it weaves its way beneath the world,
in turning tunnels in the dead of night.

Teve Talevski had a meeting
across the river, he knew he’d be late.
**** trains they do it to you every time.
But something odd happened while he waited
A taut-limbed young woman sashayed past him
in a forget-me-not blue dress of silk.
She rustled on the platform as she turned.
She turned to him and smiled, and he smiled back.
Stale tunnel air pushed along in the rush
of the train arriving in the station.
He found a seat and watched her from afar.
Opened his paper for distraction’s sake
Olympic win exciting like the smile.

Train heading southwest under Whitechapel.
Deafening blast, rushing sound blast, bright flash
of golden light, flying glass and debris
Twisted people thrown to ground, darkness;
the dreadful silent second in blackness.
The stench of human flesh and gunpowder,
burning rubber and fiery acrid smoke.
Screaming bone bare pain, blood-drenched tearing pain.
Pitiful weeping, begging for a god
to come, someone to come, and help them out.

Teve pushes off a dead weighted man.
He stands unsteady trying to balance.
Railway staff with torches, moving spotlights
**** and jolt, catching still life scenery,
lighting the exit in gloomy dimness.
They file down the track to Aldgate Station,
Teve passes the sardine can carriage
torn apart by a fierce hungry giant.
Through the dust, four lifeless bodies take shape
and disappear again in drifting smoke.
It’s only later, when safe above ground,
Teve looks around and starts to wonder
where his blue epiphany girl has gone.

                 KINGS CROSS STATION
8.56 a.m. Piccadilly Line

Many named Lyndsey Germaine, Jamaican,
living with his wife and child in Aylesbury,
laying low, never visited the Mosque.   
                Buckinghamshire bomber known as Jamal,
clean shaven, wearing normal western clothes,
annoyed his neighbours with loud music.
Samantha-wife converted and renamed,
Sherafiyah and took to wearing black.
Devout in that jet black shalmar kameez.
Loving father cradled close his daughter
Caressed her cheek and held her tiny hand
He wondered what the future held for her.

Station of the lost and homeless people,
where you can buy anything at a price.
A place where a face can be lost forever;
where the future’s as real as faded dreams.
Below the mainline trains, deep underground
Piccadilly lines cross the River Thames
Cram-packed, shoulder to shoulder and standing,
the train heading southward for Russell Square,
barely pulls away from Kings Cross Station,
when Arash Kazerouni hears the bang,
‘Almighty bang’ before everything stopped.
Twenty six hearts stopped beating that moment.
But glass flew apart in a shattering wave,
followed by a  huge whoosh of smoky soot.
Panic raced down the line with ice fingers
touching and tagging the living with fear.
Spine chiller blanching faces white with shock.

Gracia Hormigos, a housekeeper,
thought, I am being electrocuted.
Her body was shaking, it seemed her mind
was in free fall, no safety cord to pull,
just disconnected, so she looked around,
saw the man next to her had no right leg,
a shattered shard of bone and gouts of  blood,
Where was the rest of his leg and his foot ?

Level headed ones with serious voices
spoke over the screaming and the sobbing;
Titanic lifeboat voices giving orders;
Iceberg cool voices of reassurance;
We’re stoical British bulldog voices
that organize the mayhem and chaos
into meaty chunks of jobs to be done.
Clear air required - break the windows now;
Lines could be live - so we stay where we are;
Help will be here shortly - try to stay calm.

John, Mark and Emma introduce themselves
They never usually speak underground,
averting your gaze, tube train etiquette.
Disaster has its opportunities;
Try the new mobile, take a photograph;
Ring your Mum and Dad, ****** battery’s flat;
My network’s down; my phone light’s still working
Useful to see the way, step carefully.

   Fiona asks, ‘Am I dreaming all this?’
A shrieking man answers her, “I’m dying!”
Hammered glass finally breaks, fresher air;
too late for the man in the front carriage.
London Transport staff in yellow jackets
start an orderly evacuation
The mobile phones held up to light the way.
Only nineteen minutes in a lifetime.
  
EDGEWARE ROAD STATION
9.17 a.m. Circle Line

               Mohammed Sadique Khan, the oldest one.
Perhaps the leader, at least a mentor.
Yorkshire man born, married with a daughter
Gently spoken man, endlessly patient,
worked in the Hamara, Lodge Lane, Leeds,
Council-funded, multi-faith youth Centre;
and the local Primary school, in Beeston.
No-one could believe this of  Mr Khan;
well educated, caring and very kind
Where did he hide his secret other life  ?

Wise enough to wait for the second train.
Two for the price of one, a real bargain.
Westbound second carriage is blown away,
a commuter blasted from the platform,
hurled under the wheels of the east bound train.
Moon Crater holes, the walls pitted and pocked;
a sparse dark-side landscape with black, black air.
The ripped and shredded metal bursts free
like a surprising party popper;
Steel curlicues corkscrew through wood and glass.
Mass is made atomic in the closed space.
Roasting meat and Auschwitzed cremation stench
saturates the already murky air.              
Our human kindling feeds the greedy fire;
Heads alight like medieval torches;
Fiery liquid skin drops from the faceless;
Punk afro hair is cauterised and singed.  
Heat intensity, like a wayward iron,
scorches clothes, fuses fibres together.
Seven people escape this inferno;
many die in later days, badly burned,
and everyone there will live a scarred life.

               TAVISTOCK ROAD
9.47 a.m. Number 30 Bus  

Hasib Hussain migrant son, English born
barely an adult, loved by his mother;
reported him missing later that night.
Police typed his description in the file
and matched his clothes to fragments from the scene.
A hapless victim or vicious bomber ?
Child of the ‘Ummah’ waging deadly war.
Seventy two black eyed virgins waiting
in jihadist paradise just for you.

Red double-decker bus, number thirty,
going from Hackney Wick to Marble Arch;
stuck in traffic, diversions everywhere.
Driver pulls up next to a tree lined square;
the Parking Inspector, Ade Soji,
tells the driver he’s in Tavistock Road,
British Museum nearby and the Square.
A place of peace and quiet reflection;
the sad history of war is remembered;
symbols to make us never forget death;
Cherry Tree from Hiroshima, Japan;
Holocaust Memorial for Jewish dead;
sturdy statue of  Mahatma Gandhi.
Peaceful resistance that drove the Lion out.
Freedom for India but death for him.

Sudden sonic boom, bus roof tears apart,
seats erupt with volcanic force upward,
hot larva of blood and tissue rains down.
Bloodied road becomes a charnel-house scene;
disembodied limbs among the wreckage,
headless corpses; sinews, muscles and bone.
Buildings spattered and smeared with human paint
Impressionist daubs, blood red like the bus.

Jasmine Gardiner, running late for work;
all trains were cancelled from Euston Station;  
she headed for the square, to catch the bus.
It drove straight past her standing at the stop;
before she could curse aloud - Kaboom !
Instinctively she ran, ran for her life.
Umbrella shield from the shower of gore.

On the lower deck, two Aussies squeezed in;
Catherine Klestov was standing in the aisle,
floored by the bomb, suffered cuts and bruises
She limped to Islington two days later.
Louise Barry was reading the paper,
she was ‘****-scared’ by the explosion;
she crawled out of the remnants of the bus,
broken and burned, she lay flat on the road,
the world of sound had gone, ear drums had burst;
she lay there drowsy, quiet, looking up
and amazingly the sky was still there.

Sam Ly, Vietnamese Australian,
One of the boat people once welcomed here.
A refugee, held in his mother’s arms,
she died of cancer, before he was three.
Hi Ly struggled to raise his son alone;
a tough life, inner city high rise flats.
Education the smart migrant’s revenge,
Monash Uni and an IT degree.
Lucky Sam, perfect job of a lifetime;
in London, with his one love, Mandy Ha,
Life going great until that fateful day;
on the seventh day of the seventh month,
Festival of the skilful Weaving girl.

Three other Aussies on that ****** bus;
no serious physical injuries,
Sam’s luck ran out, in choosing where to sit.
His neck was broken, could not breath alone;
his head smashed and crushed, fractured bones and burns
Wrapped in a cocoon of coma safe
This broken figure lying on white sheets
in an English Intensive Care Unit
did not seem like Hi Ly’s beloved son;
but he sat by Sam’s bed in disbelief,
seven days and seven nights of struggle,
until the final hour, when it was done.

In the pit of our stomach we all knew,
but we kept on deep breathing and hoping
this nauseous reality would pass.
The weary inevitability
of horrific disasters such as these.
Strangely familiar like an old newsreel
Black and white, it happened long ago.
But its happening now right before our eyes
satellite pictures beam and bounce the globe.
Twelve thousand miles we watch the story
Plot unfolds rapidly, chapters emerge
We know the places names of this narrative.
  
It is all subterranean, hidden
from the curious, voyeuristic gaze,
Until the icon bus, we are hopeful
This public spectacle is above ground
We can see the force that mangled the bus,
fury that tore people apart limb by limb
Now we can imagine a bomb below,
far below, people trapped, fiery hell;
fighting to breathe each breath in tunnelled tombs.

Herded from the blast they are strangely calm,
obedient, shuffling this way and that.
Blood-streaked, sooty and dishevelled they come.
Out from the choking darkness far below
Dazzled by the brightness of the morning
of a day they feared might be their last.
They have breathed deeply of Kurtz’s horror.
Sights and sounds unimaginable before
will haunt their waking hours for many years;
a lifetime of nightmares in the making.
They trudge like weary soldiers from the Somme
already see the world with older eyes.

On the surface, they find a world where life
simply goes on as before, unmindful.
Cyclist couriers still defy road laws,
sprint racing again in Le Tour de France;
beer-gutted, real men are loading lorries;
lunch time sandwiches are made as usual,
sold and eaten at desks and in the street.
Roadside cafes sell lots of hot sweet tea.
The Umbrella stand soon does brisk business.
Sign writers' hands, still steady, paint the sign.
The summer blooms are watered in the park.
A ***** stretches on the bench and wakes up,
he folds and stows his newspaper blankets;
mouth dry,  he sips water at the fountain.
A lady scoops up her black poodle’s ****.
A young couple argues over nothing.
Betting shops are full of people losing
money and dreaming of a trifecta.
Martin’s still smoking despite the patches.
There’s a rush on Brandy in nearby pubs
Retired gardener dead heads his flowers
and picks a lettuce for the evening meal

Fifty six minutes from start to finish.
Perfectly orchestrated performance.
Rush hour co-ordination excellent.
Maximum devastation was ensured.
Cruel, merciless killing so coldly done.
Fine detail in the maiming and damage.

A REVIEW

Well activated practical response.
Rehearsals really paid off on the day.
Brilliant touch with bus transport for victims;
Space blankets well deployed for shock effect;
Dramatic improv by Paramedics;
Nurses, medicos and casualty staff
showed great technical E.R. Skills - Bravo !
Plenty of pizzazz and dash as always
from the nifty, London Ambo drivers;
Old fashioned know-how from the Fire fighters
in hosing down the fireworks underground.
Dangerous rescues were undertaken,
accomplished with buckets of common sense.
And what can one say about those Bobbies,
jolly good show, the lips unquivering
and universally stiff, no mean feat
in this Premiere season tear-jerker.
Nail-bitingly brittle, but a smash-hit
Poignant misery and stoic suffering,
fortitude, forbearance and lots of grit
Altogether was quite tickety boo.



NOTES ON THE POEM

Liverpool Street Station

A Circle Line train from Moorgate with six carriages and a capacity of 1272 passengers [ 192 seated; 1080 standing]. 7 dead on the first day.

Southbound, destination Aldgate. Explosion occurs midway between Liverpool Street and Aldgate.

Shehezad Tanweer was reported to have ‘never been political’ by a friend who played cricket with him 10 days before the bombing

Teve Talevski is a real person and I have elaborated a little on reports in the press. He runs a coffee shop in North London.

At the time of writing the fate of the blue dress lady is not known

Kings Cross Station

A Piccadilly Line train with six carriages and a capacity of 1238 passengers [272 seated; 966 standing]. 21 dead on first day.

Southbound, destination Russell Square. Explosion occurs mi

She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

She opened the door of the gallery and there it was, there it lay, before her, nearly perfect: her exhibition. The opening was an hour or so away and there were, naturally, a few adjustments to make, but in essence it was right, and as she walked to the middle of the rectangular space (to survey the full effect ) she felt held by the quiet wonder of it all; that she had made all this and with ‘the quality control of nature’s accidents’. He’d written those words some years previous when a solo show was but a dream she would enter between sleep and wakefulness, when she would think of the west coast of Scotland and the poetry of its seashore, the infinite variety in the seashore strand between sand and sea. It was such natural accidents of form and transformation by nature’s hand that had guided her imagination into rightness and towards this exhibition.

At breakfast that morning she had come to the table dressed to greet her audience, and for the first time as a featured artist in a festival of some repute. She had felt the quiet joy of choosing the right combination of clothes to be the public person she had now become. He had loved the new dress she had bought to clothe her gallery persona. She had been conscious of his eyes following the lines this frock so generously drew around her body’s shape and form, the way the material fell across her *******, lay smoothly on her thighs.  It was a very grownup frock and with the jacket and scarf made her look purposeful, confident. His looking made such confidence possible, his admiration and what she could tell was that coming together of love and passion that, her being dressed in this formal way, so often evoked.

In the gallery she had worried over the lighting, climbed up the metal ladder with the fluffy green glove thoughtfully provided to enable those small adjustments of direction to be made on a hot spotlight. There were four large pieces flanking a corner that had embossed lines running across their surfaces, lines that needed oblique light to reveal the shadowing of this effect of swirls and marks of a retreating tide on sand.  Two smaller pieces needed rearranging; she’d placed them, late the evening before, in the wrong sequence. Poster boards were to be filled with her poster and put outside on the pavement by the gallery entrance. She opened the main door, a very green door with its top and bottom bolts and black-painted handle ring. The street outside was a welcoming mix of 18th and 19th C buildings, hardly one the same, the sort of three storey buildings that had simple plaques prominently placed into the brickwork from a distant past when proud builders would describe a structure’s use or ownership with a title and date. By ten o'clock this one-way street was lined with parked cars, but now there was little traffic. It was a quiet sunny morning in a market town.

‘Don’t mind the dog, ‘ he said. ‘He’s used to coming in here.’ It was a long-haired verging on the side of scruffy sort of dog, used to keeping its own counsel, probably used to being taken to exhibitions. ‘Just popping in,’ he said, this man who, and she couldn’t help noticing this, seemed to hold much in common with his dog; the long, but retreating on the forehead, hair, slightly scruffy from the want of a comb or a good brush (like his dog), he had dressed without much thought (because who dressed thoughtfully to walk a dog?), and that’s what he was doing, walking the dog and, seeing the Gallery open, thought he ought to look in.

Giving him her brightest smile, she embarked on performing the artist’s music of conversation, that score holding gentle melodies and welcoming harmonies. Although she had become quite practised in talking to her audience there was always the challenging inquiry that would catch her off guard.

‘Well, are you finished with the seashore now?’ said the man with the look-alike dog. For a moment a half dozen possible answers seemed possible. ‘Could one ever finish with something so extraordinary and various as that hinterland between land and sea?’ No, that was seemed a mite critical and clever. ‘Oh, I’ve hardly started’ was tempting, but rather smug and too confident by half. ‘I just love the seaside’ would probably do, as no one else was listening. ‘Merleau-Ponty says the complexity of the seashore is a metaphor in the search for self-identity’. She did wonder what he’d make of that, but finally decided on ‘It’s such a rich source of ideas and images I’m sure there’s a lot more I want to do with the subject.’

”It’s all the same colour”. She’d had that one a few times. ‘When I’m on the beach I’m fascinated as much by the texture and shape of what I see  and feel than the colour. I like the subtlety of the colours in the sand. I think my pieces – and she waved her hand towards what she had titled her Sand Marks pieces – show so many of the different shades of colours you find on the seashore.’

Those Sand Marks, a collection of variously dyed and marked two metre plus linen-lengths, dominated one wall of the gallery. They floated a few centimetres from the white wall, and when people moved past them the slight shadows cast by the linen lengths seemed to ripple in the human-made breeze. She could never look at them without thinking how their very accidental making – binding a linen cloth with inner placed objects and using the natural dye of tea – could create such absorbing results. She would follow with her gaze one of the linen-lengths from bottom to top (or top to bottom) and find herself walking on the wet sand of a Scottish beach, overwhelmed by the clear light and space with only the sea sound surrounding. He would tell her, had told her often, how moved, how affected he had been when he first saw them hung. To him, these ‘marks’ carried an essence of this aesthetic she now owned and for which had become recognised.

Even on this, her first day, she had been visited by a small number of admirers and supporters, some travelling distances to see her work with the aura of the original, a truer view than that possible on the back-lit screen of their computer monitors. Ladies who loved textiles, the containment and privacy to sew and stitch secured in their busy lives. These friendly and smiley women (the comfortable side of sixty) understood something of what she was doing here, and perhaps imagined themselves as thirty-somethings walking Scottish beaches free from children and the relentless list-making of house and home and occupation, able to create imaginary worlds of marks and folds, pleats and textures. Full of enthusiasm for the medium, what they perhaps didn’t have was the skill of seeing, a skill she had grown up with, had always owned to some degree: found, fostered, honed, developed into a second-nature activity of always looking.

There would be the occasional brief lull when the gallery was empty or close to empty, as though needing the space to come up for breath after being occupied by people and their movement. She would then walk slowly around the long well-lit room viewing her pieces and her arrangements of pieces from different angles. She would look at his poems placed antiphonally between her work, commissioned for her catalogue, her book of images of the sea shore paired with, incorporating even, her made pieces. She’d chosen a favoured few she’d felt caught the essence of being in the sea’s company, in the sand and shore’s domain. Like everything he did it had been undertaken with the utmost intensity of purpose. She saw him now in her mind’s eye with his notebook sitting against rocks, paddling in the great shallow pools, walking head down along the tide line, those bright days on a Scottish island and before, before on that ellipse of beach by the fishing station.

He would tease out an idea formed from a little motif of words, perhaps like the very music that was his private territory: here, alone, apart we are marked by the tide’s turn. Yes, we are marked by being solitary in such unconfining space, the marks at our feet become the lines, the mounts, the fingers, those interruptions, breaks and blockages found in the tridents, chains and crosses of the art of palmistry. We read the seashore as a psychic oracle reads the hand, hoping, as Kathleen Jamie so rightly says, for the marvellous. And marvellous it so often is.

Standing in this gallery was like being gathered about by the seashore. It was a short jump in the imagination’s miracle to hear the soft breathing of the sea, the wind caressing the face, the warmth of the afternoon sun on the freckled cheek.

See how those we love are transformed
when the sea is their only boundary

a figure stands before a sand bar
in a crescent of water left by the tide
an affecting geometry of solitude
. . .

These words had always stopped her in her perambulating tracks. She thought of her son, far distant on the beach, at rest for once, still, motionless within the confluence of the elements of the beach, at the epicentre of her gaze, all things flowing to and from his tiny, far-away figure.

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it's understandable, they confused by complex bilingualism as schizophrenia; oh sorry, it's not actually a scary word, before people start to theorise the mono-lingual pre-maturity of a condition that affects older people, they should seriously begin to listen to what a person is saying; there are tales of surgeons leaving surgical equipment in bodies during surgery... well... at least the physicality of such blunders is more pronounced than leaving regression variations of negated ease (disease) in man... (uncouple that compound and you'll find the subtler alternative)... when psychiatrists make mistakes it's not a heart surgeon making a mistake, the mistakes psychiatrists make are far more profound, given the nature of the mistake being seemingly trivial in comparison... yet these mistakes make our mental life worse by disrupting the narrative, psychiatry, being a science, primarily disrupts the (cognitive) narrative; it's hard enough to find yourself in your mind, let alone a worthy narrative that you encompass... it's hard to reemerge with a good enough narrative when you're branded like an ox, a ******* during the height of Christianity, or registering a car for road tax... it's ****** hard.

so they (i've lost the paranoia additive of this pronoun
a long time ago) thought my bilingualism
was worthy the label of schizophrenia...
well... d'uh, isn't bilingualism a split-mind scenario
in itself?
                    bilingualism is more complex than you think,
it reaches to the depths of each language,
it's not a multilingual acquisition, a polymath hooray!
it's bone deep,
                        bone deep, it goes as far into identity
as all conceivable points of psychological architecture;
which is why my bilingualism was so well
established that i became a bit difficult to society:
my upbringing was to match the difficulty -
i was never supposed to utter a single intellectual
disparity, given my stature i was supposed to be
a manual labourer - a position i'd have gladly undertaken
but (see my earlier entries), but...
                                i never really felt a need for
an animosity toward the English -
                                           i loved everything about England
(or at least London) -
                                                 i left my native country
early enough to sponge-up the new culture,
                   but of course when our family was applying
for citizenship we were the obscure minority,
                 after the floodgates opened and the less
creme of the crop entered these shores,
       i was forced into a spiral reinvention, i was no
longer was the British termed "exotic"...
exotica, hmm, funny how i imagine things exotic as
things in sunny places, slaves in the Caribbean,
the platitudes of certain African Savannahs...
something Voltaire might find befitting to write about
like he did in Candide - there's this neurotic passage in there...
                the passage to India... a book i'll
never read: why? can't be bothered, the t.v. series *Indian Summers
does it for me;
                                  plus i do like cooking curry,
so there's the f                        u                            to take-away
curry...           i have an arsenal of spices and i bomb Kashmir
with whiffs of the stuff...
                                    that part of my is what the intended cultural
assimilation was intended for: the rest? n'ah ah.
                               what spurred me to write this poem?
Heidegger's concept of someone moving and integrating
into a different culture: to be honest, the country i was born
in was uniquely pressed to turn its habitants into nomads -
      it was a town primarily based on the steel industry -
now it's a town of pensioners - the steel industry fell to ruin
and people had either the choice of: elsewhere in Poland,
or abroad.
                                    still, things were much nicer
   when the barrier was up... selfishly said? i agree, but then
i had enough air to breathe as a sole artefact of the ethnicity,
and a good enough reputation as a person needing to
persistently learn... had i been a crook? well, now i find
my ethnic background elsewhere, in a near mythical place
in Scandinavia - not that i want to, but i don't actually
have an atypical (a typical) physiognomy of a Slav -
so that's a plus...
                                     but what really spurred me on
was what Heidegger describes as the threshold and indeed
the essence of integration: to learn the language,
to use the language, nothing but language in terms of
being considered a certain noun - in this case, British;
so this is a German perspective from the 20th century...
the British perspective in the 21st century?
                         kinda like **** Germany...
language? forget it... you can speak with a ****** accent
and even ******* grammar... what's at work here
is ethnic cleansing, on a spiritual side of things -
language can rot in hell for the English, what they want
new citizens is to: a. eat fish 'n' chips
                                  b. talk ***** when *******
                         c. lick the **** of Americans
          d. have a sense of moral superiority because of
                    that poncy accent that's becoming a dodo
       e1. forget their mother tongue
         e2. only speak English in private
                            f. respect the Muslim attire but
        to never respect fellow European's concerned
                           about many other things
      g. amongst other things...
so it's not enough to learn the ******* language, that i have to
become a ******* serf? oh wait, i have some spare change
in my pocket (puts hand in a trouser pocket and takes out):
the *******!
                                  or how you find yourself
in an imploded British Empire, go beyond London and you
enter something less resembling a global community
and more a national socialist set of self-evident dicta
wrecking havoc to your senses.
                              and all this from a humble background?
well: freaks and mutations sometimes happen...
                    being born near to the date of Chernobyl doesn't
really help to counter the argument:
           yes, even in Poland, the effects were felt,
my great-grandmother remembers streaks of radiated trees
and un-radiated trees in the park -
        the radiated trees were born... a strange kind of rainbow...
and yes, i do take the **** out of **** Germany
while talking about it and Jewish mysticism -
                                Malachi the arch-heretic (who introduced
a polytheistic concept that does not fit in with monotheism:
reincarnation) -
                            oh look:      something came out of this
conviction that told me to duly apologise to the concept
of the two late monotheistic religions:
                             on your own, can't be bothered -
Christianity was always going to be more image orientated
(after all, the crucifixion is a good enough image)
   and Islam was always going to be more word orientated
(something to shout about, actually, to just shout it) -
the Judaism i found?
                              not being circumcised and what not,
not adhering to the religion as such?
  the lord of the rings and harry potter...
simple... how?
                               please make oaths, swear, use profane
language... maybe that will make your actions less profane
and this isn't 19th century Victorian society event where
people talk polite but play ***** according to the escapades
of Dorian Gray...
                              i'm still adamant that auto-censorship
of a name (the name, i.e. ha-shem) does wonders for your
vocabulary - oath, **** **** ****, words are actually:
                or conjunctions, and this means you can use them
to destroy the barricades of fluidity -
                                 do we really need to say certain names?
Islam says the name all the ****** time,
        Christianity doesn't even know the name of the father:
Jules?                      Jason?                Jeremiah?
                                           can't be Yves...
                   and did 1st century fishermen write?
wasn't that a rebellion against the literate Pharisees etc.?
             so it's pretty much like the harry potter / lord of the rings
rule: Sauron
                       designates the tetragrammaton
   and the necromancer designates ha-shem...
                                                or...
         Voldemort designates (as above)
              and tom-riddle                   blah blah...
oh i have actually washed my hands clean of two most
populous religions in the world -
                            i can't believe that so many people can be
right about something,
                                    would i desire to argue to this
to the grave? not really, i prefer to look at it as a chance fancy,
my real concerns are based upon the question:
   why would bilingualism, ever, be treated as a case
of schizophrenia?
                                           perhaps the language is too
difficult to follow, perhaps i'm reciting a poem by
                           half caste by john agard -
but this **** isn't skin deep, i can't blow the sax in a liberating
transcendence of slavery, or do that other form of
rebellion -
                    &nb

You don’t want to read how I started to begin this piece I told my wife she laughed and said you surly don’t want to start it that way.

They just don’t get it they don’t have a bomb big enough to do us irreparable harm they are
Fighting deep ideals built on the bedrock of freedom that is conditional to the finest part found
In the human spirit you can ****** our bodies and **** but you only succeed in increasing our
Love for our way of life and that fuels the same motivation that has defeated such evil stupidity
That comes and goes in the earth and then it seeps back down to hell where it came from while
Truth gains more followers and flourishes you cannot crawl out of your damnable hole and long
Exert and defame something first you senseless deceived one who lives only in darkest
Ignorance takes the foolish steps of being already a spoiled creature that is barely alive due to
The poison you feed on regularly your appearance is of the living devastation and desperation
Yes that is a real plus who wouldn’t want to follow the message of one who portrays the dregs
Of life personified and then you spew words and actions that are nothing less than the totality
Of defeatism please come and be a slave to our beliefs and don’t worry tyrants will be provided
For you that will make sure you have not one moment of confidence in yourself to govern
Yourself everything you do will benefit a complete idiot and then you will be called onto call
Them great because you know how worthless you are please let me pull out from this dive from
The clouds of living death turn the plane back just for the joy release the canopy fly low over
The Greatest terrain and land the world has ever known it allowed men to step on the immortal
Stage of history and declare these words that are a part of our national DNA do you think you can
Separate us from their hope and meaning by human conceived cold blooded acts I have no doubt
You can come up with them but you are the same as trying to tear down a pure wall of steel with
A needle it only shines and gleams the brighter as these words below  
Four score and seven years ago our fathers brought forth on this continent, a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal.
Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battle-field of that war. We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we can not dedicate -- we can not consecrate -- we can not hallow -- this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract. The world will little note, nor long remember what we say here, but it can never forget what they did here. It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us -- that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion -- that we here highly resolve that these dead shall not have died in vain -- that this nation, under God, shall have a new birth of freedom -- and that government of the people, by the people, for the people, shall not perish from the earth.

Your efforts are like you moving the Rockies with a shovel we have collectively a many layered
Depositary of thoughts to speak of this I will insert my own written thoughts as an American I will leave the
Explanation at the top also we know we are not perfect but we are still the greatest experiment ever
Undertaken in human government it began from Greek and French origin but we perfected at least to the
Place it is now

Imposter

California has two places we would escape the hectic bay area Central Coast and Disney land. We were staying at a smaller hotel right by Disney we got to know the owners they were very down to earth. We were setting in the glassed in game room by the pool well the husband came in with nine business men from Japan they were talking about buying his hotel. This was back when everyone bashed Japan. The next morning my wife went to the pool I was thinking about those men did I want to bash them or go a different way. God gave this to me it came in a rush it was written in fifteen minutes it is patriotic and it deals with our great blessing that is wrapped in diversity


From where did the lie first spring
The face I show I don't even know
The truth does sting so to falsehood I cling.
Best to wear this disguise, continue with the faceless mass.
America proud land of liberty; too long it's been just a veneer.
Freedom you espouse, to have this you must clean prejudice from your house.
True greatness finally you will know, when it shines through all colors.
To do this you must rediscover the bedrock of your heritage.
Truly believe the words that say "We the people."
Words that shook the elements, only being surpassed at creations stage.
To long our apathy has been collaborating with our enemies no more.
This challenge is given to restore.
Opportunity's open door let us our energy out pour.
That freedoms passion soars, as in the past ******* it tore.
Land of light continue, Miss Liberty your lamp burning bright.


Last one I will share here in this piece


Fertile Ground


O thou great Jefferson in whom dwelled the fidelity of a nation of free men.
Thy secretes can be viewed as we watch you live and breathe the life of a grand Virginia planter
When one is a student of nature and observes its subtle lessons becomes its master and ally. The next
Step of going to lead men is reasonable when taken into count the natural gifts that were refined in
Quiet fields and hills in lengthy times of treasured solitude that is not to say there won’t be difficulties
But to a merchandiser of lofty thoughts this is of little consequence. There are issues that must be
Divined through the protracted business of hard arduous study. Man’s soul drifts in and out of the valley
And hills taking unconsciously truths that exist they are everywhere but can be buried in life’s clamor.
To purposely walk across a field with your with your senses open will usher you into a place quiet
Unsettling if you are one who is uneasy in your own thoughts because the vistas will allow your mind to
Extend it to the far reaches ordinary thoughts will jump over conventional restraints and give you
Profound insights Jefferson graduated from this school of higher learning for this very important time
This man of stature arose he flung freedom’s door wide open walked through set down at his desk and
Masterfully penned immortal words, to this day time hasn’t diminished any of their importance or there
Revered excellence this document would go unparalleled in type and execution, in forming the basis for
Human conduct it would forever alter the landscape that that had existed before its grand arrival.
The stinginess of former centuries were at long last over the mind had finally
Liberated the body the willingness to do for one’s self had taken the lead there was no
Turning back, these actions would recommend them as a people. Their credentials intact now they were
Ready for the world stage a new birth of nobility walked into the human condition and it wasn’t
In the least bit hesitant to speak thoughts that had long been silenced.
The trouble today stems from the lack of understanding we have about the truth,
Of what oppression would be unleashed if our form of government would be allowed to be dissolved we
Love the dream but deplore the reality. That this system will only work when we are involved. It has a
Built in detection device, you can’t use its rewards without paying it back with service.
The results will be contagious you will be left with a weak sickly government.
The remedy simple everyone has to be its central guardian.
This does not mean that it is weak this was the way it was created it is as strong as you
Are willing to have it know this it will always be dependent on human involvement.
We might not like it but we are making a choice freedom will be loosed or bound by our decision.
The product that we deal with is very supple and ever changeable it becomes whatever form you pour it
Into this is in accordance with its nature it also is a gauge of those that handle its virtues and shows if
You have had reverence or contempt. You will be left with honor or disgrace did you carry forth the gift
Or allow it to waver the children of the next generation are watching.


We are purist in thought and deed when we rally around the flag and the Constitution but sin is a reproach to any people or nation to right our path we must return to our fore fathers commitments to be faithful and true to God and man you don’t know me if you think I can’t go on but our one resource that is in short supply is time in this modern life so I will be considerate it is true that right will win so we will bury our loved ones and from it will only increase in strength and our country will continue to be the envy of the world

I need to go to the grave yard,
need to dig some dirt.
Make a nest for sleep.
Let the dirt infuse into me.

Infuse with me and the dead.
I want crosses on my forehead.
My forehead mounded upon with dust,
the soil of all this West Texas, impacted upon my chest,
and the sticks of skeletons shall ***** my flesh.
Make me parts of them.
Splinters, perfect spacing, spectral spines.
Barrow injecting me with creativity.

We all come from the particles left of,
by the demise of life.
We are leftovers of after thoughts,
left in attics, filled with soot in peoples minds.

Then I can make art.
Then I can cut out snow,
to shapes of stars.

Tin man in the ground, grows rust as he settles into moist dirt.
He wont grow any more like a plant.
But as sugar in the ground he rust and melts,
oxidates into nothing, then transmuting into,
crystals.
This is cemetery life.

I need to go to the grave yard.
So I can make a home.
Build me a little mistress,
make a family in her bones.

The cottage that we build there,
will have ivy, we'll have friends,
the gates of it will say welcome sir,
madam death waits to have you in.

Drinking milk thistle tea,
dancing waltzes in the fog light.
Diffusing in the spectral photons,
bowing down to afterlife.

Kissing the lips of the grave yard.
Opens the doors, hands extend.
I need to go to the grave yard.
So I can find a place, I fit in.

Read between the lines
running theme
running in and out
and inbetween
moments in my life.
Taunting me is Miss Mystery
and her sweet moments of ecstacy
carry me
to questions of implied imagery.
The space between each line I
write and read;
each line I wait on, drive on;
each line I listen between;
each line spoken to and from me-

Endless misunderstanding
undertaking me.
Undertaken me!
We never say
We never sing
what we really mean.
We never reach a destination
on these lines driven between.

The answer is hiding
for her benefit.
The answer has
Nothing to do with you
Nothing to do with me
Us, barbaric human beings
being  arrogant with the lines
we speak.
Arrogance thriving between lines
paved with housing establishments
while the space between mountain ranges
sits vibrant,
patient.
All made of sunshine
All made of peace of mind

All made between the
thin line of atmosphere.
I actively disrupt her.
Mindlessly disregarding the
space between lines.
I act so possessively towards this
life of mine.

Yet, observant
I try to be.
Silent
I try to be.
And I try
to read between the lines
my mind project before my eyes.
My eyes: with lines protruding from all sides,
when I'm the least bit pleased.

Oh, least bit of knowledge I've gained
from these meditative rants that my
subconscious recalls only when there are
no designated lines to write between.

Lack of lines let's my subconscious free.
Selfish as each human being;
each human being free
I wait
more or less
patiently,
for someone to
read between my worn eye-lines
correctly.

Englightenment
I wait to
want me
or,
wait to
watch me.

I wait for the nameless to see me.

Desire's undertaking me,
Undertaken me!
I never say,
I never sing,
what I really mean.
Desire turned nameless me needy.

Me, the
Nameless human being
Nameless between
lines of Nameless Humans
being free,
being greedy.

i once had a girl from poland over,
gave her the tourism of london,
a daughter of my mother's friend.*

i suffered sun stroke one day out
with her, blonde hair and all,
i was bound to feel the cold shivers,
went to a party with a school-friend
of mine and her...
i was left in a bed shivering,
he later said he didn't want to say it
but did, that they kissed...
like i didn't know the shorthand for
oral ***...
now i'm drinking a beer, write
one poem weeping, another like this
one laughing prior, slapping myself in
the cheek...
two slaps to the face i didn't receive
from prostitutes (**** your moral
relativism, you people only
know that theft and ****** and ****
are equal in the cauldron of einstein's
space-and-time, i accept physical
relativism, but i loath moral relativism,
it's like giving an umbrella to the man
under a champagne waterfall -
and an anorak to a man under a waterfall
of cow ****) -
yep, slaps outside the brothel,
the kind women became knights' sparring partners
for the oath undertaken,
it was a practice among knights to get
a handkerchief to ease the sting later...
but when prostitutes don't slap you
for trying to sort your life in order to provide,
you sort of become two knights,
twin siamese, you slap yourself because
all that st. thomas gospel wisdom went into
***-augmentation procedures and cheap
cancer victims with pill-for-pill profiteering...
leisurely ladies of societies made rich
by easy money, watching operas
but still preferring to notice what
their neighbours were wearing,
the peasant snobism who are more distracted
by what others wear rather than the music...
a herd of wilder-beasts could ease out more tears
at an opera than these "precious" ladies of the new
post-aristocratic society of easy money...
you drink beer, laugh, slap yourself silly on the cheeks
for more laughter... your brain
becomes a monkey in a cage gone mad
rather than turning docile...
so she came over and enjoyed my company,
spotted a fox in an alley to a surprise...
but then i got rudely told that oral *** was a kiss...
well **** me there's a cataphract -
let's ***** slap him silly so no byzantine philosopher
cared to exist.

It always intrigued him how a group of people entering a room for the first time made decisions about where to sit. He stood quietly by a window to give the impression that he was looking out on a wilderness of garden that fell steeply away to a barrier of trees. But he was looking at them, all fifteen of them taking in their clothes, their movements, their manners, their voices (and the not-voices of the inevitably silent ones), their bags and computers. One of them approached him and, he smiling broadly and kindly, put his hand up as a signal as if to say ‘not just now, not yet, don’t worry’, or something like that.

This smile seemed to work, and he thought suddenly of the woman he loved saying ‘you have such a lovely smile; the lines around your eyes crinkle sweetly when you smile.’ And he was warmed by the thought of her dear nature and saw, as in a photo playing across his nervous mind, the whole of her lying on the daisied grass when, as ‘just’ lovers, they had visited this place for an opening, when he could hardly stop looking at her, always touching her gently in wonder at her particular beauty. In the garden they had read together from Alice Oswald’s Dart, the river itself just a short walk away . . .

Listen,
a
lark
spinning
around
one
note
splitting
and
mending
­it

As he finally turned towards his class and walked to a table in front of the long chalkboard, half a dozen hands went up. He had to do the smile again and use both hands, a damping down motion, to suggest this what not the time for questions – yet. He gathered his notebook and went to the grand piano. He leafed through his book, thick, blue spiral-bound with squared paper, and, imagining himself as Mitsuko Uchida starting Beethoven’s 4th Piano Concerto, fingers placed on the keys and then leaning his body forward to play just a single chord. He held the chord down a long time until the resonance had died away.

‘That’s my daily chord’, he said, ‘Now write yours.’

Again, more hands went up. He ignored them. He gave them a few minutes, before gesturing to a young woman at the back to come and play her chord. Beside the piano was a small table with a sheet of manuscript paper and a Post-It sticker that said, ‘Please write your chord and your name here’. And, having played her chord, she wrote out her chord and name – beautifully.

He knelt on the floor beside a young man (they were all young) at the front of the class. He liked to kneel when teaching, so he was the same height, or lower, as the person he as addressing. It was perhaps an affectation, but he did it never the less.

‘Tell me about that chord,’ he said, ‘A description please’.
‘I need to hear it again.’
‘OK’, there was a slight pause, ‘now let’s hear yours.’
‘I haven’t written one’, the reply had a slightly aggressive edge, a ‘why are you embarrassing me?’ edge.
‘OK’, he said gently, and waved an invitation to the girl next to him. She had no trouble in doing what was asked.

Next, he asked a tall, dark young man how many notes he had in his chord, and receiving the answer four, asked if he, the young man, would chose four voices to sing it. This proved rather controversial, but oh so revealing – as he knew it would be. Could these composers sing? It would appear not. There was a lot of uncertainty about how it could be done. Might they sound the notes out at the piano before singing (he had shaken his head vigorously)? But when they did, indeed performed it well and with conviction, he congratulated them warmly.

‘Hand your ‘chord’ to the person next to you on your right. Now add a second chord to the chord you have in front of you please.’

Several minutes later, the task done, he asked them to pass the chords back to their original owners. And so he continued adding fresh requirements and challenges. – score the chords for string quartet, for woodwind quartet (alto-flute, cor anglais, horn, baritone saxophone – ‘transposition hell !’ said one student), write the chords as jazz chord symbols, in tablature for guitar, with the correct pedal positions for harp.

Forty minutes later he felt he was gathering what he needed to know about this very disparate group of people. There were some, just a few, who refused to enter into the exercise. One slight girl with glasses and a blank face attempted to challenge him as to why such a meaningless exercise was being undertaken. She would have no part in it – and left the room. He simply said, ‘May I have your chord please?’ and, to his surprise, she agreed, and with some grace went to the table by the piano and wrote it out.

A blond Norwegian student said ‘May we discuss what we are doing? I am here to learn Advanced Composition. This does not seem to be Advanced Composition.’

‘Gladly’, he said, ‘in ten minutes when this exercise is concluded, and we have taken a short break.’ And so the exercise was concluded, and he said, ‘Let’s take 15 minutes break. Please leave your chords on the desk in front of you.’

With that announcement almost everyone got out their mobile phones, some leaving the room. He opened the windows on what now promised to be a warm, sunny day. He went then to each desk and photographed each chord sheet, to the surprise and amusement of those who had remained in the room. One declined to give him permission to do so. He shrugged his shoulders and went on to the next table. He could imagine something of the conversation outside. He’d been here before. He’d had students make formal complaints about ‘his methods’, how these approaches to ‘self-learning’ were degrading and embarrassing, belittling even. I’m still teaching he thought after 30 years, so there must be something in it. But he had witnessed in those thirty years a significant decline in musical techniques, much of which he laid at the feet of computer technology. He thought of this kind of group as a drawing class, doing something that was once common in art school, facing that empty page every morning, learning to make a mark and stand by it. He had asked for a chord, and as he looked at the results, played them in his head. Some had just written a text-book major chord, others something wildly impossible to hear, but just some revealed themselves as composers writing chords that demonstrated purpose and care. Though he could tell most of them didn’t get it, they would. By the end of the week they’d be writing chords like there was no tomorrow, beautiful, surprising, wholly inspiring, challenging, better chords than he would ever write. Now he had to help them towards that end, to help them understand that to be an  ‘advanced composer’ might be likened to being an ‘advanced motorist’ (he recalled from his childhood the little badges drivers once put proudly on their bumpers – when there were such things – now there’s a windscreen sticker). To become an advanced motorist meant learning to be continually aware of other motorists, the state of the road, what your own vehicle was doing, constantly looking and thinking ahead, refining the way you approached a roundabout, pulled up at a junction. He liked the idea of transferring that to music.

What he found disturbing was that there were a body of students who believed that a learning engagement with a professional composer, someone who made his living, sustained his life with his artistic practice, had to be a confrontation. The why preceded, and almost obliterated, the how.

In the discussion that followed the break this became all too clear. He let them speak, and hardly had to answer or intervene because almost immediately student countered student. There evolved an intriguing analysis of what the class had entered into, which he summarised on a flip chart. He knew he had some supporters, people who clearly realised something of the worth and interest of the exercises. He also had a number of detractors, some holding quasi-political agendas about ‘what composition was’. After 20 minutes or so he intervened and attempted a conclusion.

‘The first rule of teaching is to understand and be sympathetic to a student’s past experience and thus to their learning needs, which in almost every situation will be different and various. This means for a teacher holding to an idea of what might, in this case, constitute ‘an advanced composer’. I hold to such an idea. I’ve thought about this ‘idea’ quite deeply and my aim is to provide learning opportunities to let as many of you as possible be enriched by that idea. You are all composers, but there is no consensus about what being a composer is, what the ‘practice of composition’ is. There used to be, probably until the 1970s, but that is no more. ‘

‘You may think I was disrespectful in not wishing to engage in any debate from the outset. I had to find a way to understand your experience and your learning needs. In 40 minutes I learnt a great deal. My desire is that you all go away from each session knowing you have stretched your practice as composers, through some of the skills and activities that make up such a practice. You all know what they are, but I intend to add to these by taking excursions into other creative practices that I have studied and myself been enriched by. I also want to stretch you intellectually – as some of my teachers stretched me, and whose example still runs through all I do.

Over the next seven days you are to compose music for a remarkable ensemble of professional musicians. I see myself as helping you (if necessary) towards that goal, by setting up situations that may act as a critical net in which to catch any problems and difficulties. I know we are going to fight a little over some of my suggestions, the use of computer notation I’m sure will be one, but I have my reasons, and such reasons contribute towards what I see as you all developing a holistic view of composing music as both a skill and an art form. I also happen to believe, as Imogen Holst once said of Benjamin Britten, that composing music is a way of life . . .

With that he walked to the window and looked out across that wilderness of green now bathed in sunshine. He felt a presence by his shoulder. Turning he suddenly recognised standing before him a young man, bearded now, and yes, he knew who he was. At a symposium in Birmingham the previous summer he had talked warmly and openly to this composer and jazz pianist in a break between sessions, and just a few weeks previously in London after a concert this young man had approached him with a warm greeting. Empathy flowed between them and he was grateful as he shook his hand that this could be. She had been with him at that concert and he remembered afterwards trying to recall his name for her and where they’d met. She was holding his arm as they walked down Exhibition Road to their hotel and he was so full of her presence and her beauty no wonder his memory had failed him.

‘Brilliant,’ the young man said, ‘Thank you. Just so much to think about.’

And he could say nothing, suddenly exhausted by it all.

the night of the fake dead has become eternal
(i will wear Susan Lucci's face for it)

staggering through excesses unknown
and the uncertainty of this ranking system,
you tried to eat my earlobe
but lost interest in it quickly.
your scent safe in this butterfly net,
i am surrounded by the
murderous howls of your perennial
buttercups, determined to tempt
my animal ******* instincts.

     (enuma elish la nabu shamamu)
     (shapiltu ammatum shuma la zakrat)

i have tripped in the garden of Eve's desire
and felt torrents across my cheeks
of alternating salt and sugar-sweet nectar.
i have held the red locks of wort
and danced on the blossom-littered ground
in remembrance of wandered attention.

     (When in the heights heaven had not been named)
     (and below, firm ground had not been called...)

i have wept in the shadow of Adam's twin towers
and seen the rift between the continents
ebb and fall under silence's blanket.
i have leathered my skin under this star
to defend my eyes and tongue from
the bite of the turtle goddess.

i have seen the feast of the water,
devouring the naked soil of Pangea,
and tasted its salt with my eyes.
i have undertaken the toil of the shaduf,
churning mud and planting seeds for
the return of the floral messiah.

     (Amaru baur rata)
     (Shagane Ir Imshi)

i have borne the yoke of the oxen
and reaped stalks of wheat
in the summer's first harvest
i have broken bread with companions
under starlight mixed embers
glowing log light orange dynamo

     (The Flood swept thereover)
     (His heart was filled with tears)

Will you scream for me?
Can you profess the holiness
of my mission?
My name, my motif, echoes
across the ages...

Siaynoq!
Siaynoq!
Siaynoq!

In the end we are called upon by
stronger forces, blank expressions, glassy eyes

Siaynoq!
Siaynoq!
Siaynoq!

the cold of the world's knife,
pressed against the flesh of our selves,
unconscious rhythm heartbeat pounding
twisted sense rhumba of a thousand tiny shards

Siaynoq!
Call me to a greater purpose
Siaynoq!
Spill my blood across the sand

What do you tell a dying child?

Is the child in dread?

He seems to be.
What thinks he drear?
Has he been blamed and shamed for being so?

Why is dying something a child would fear? Why,
If dying were fearful to a childe, woe be

the daycare providers, no child
would need an adult's fear
to keep them alive,

until olde time family around the table
like on TV. Say grace and wonder what did that ever mean

For so I formed them free. Milton in Mind-of-Christ mode,
saying he saw the conf fliction

fiction. The idea of conflict is evil. This began near there.

the battle between good and evil, who could imagine that?
Why would he or she?

Why would any teacher claim the frail child set aside,
a premie nursed to life,

as a wizard's slave in a crystal bubble of simplicity
plus memory and speech.

the first perfect praise, invented to empower the praised,
his shaper and former, his teller of true true true true

free me. true. (POV plus adolescent cultural experiences)

Free thoughts. Chaos? You think free thought is Dada?
Good God, how long must I suffer thee?

Abundant life is fun,
not combat against willfully undertaken evil acts…

not fair combat.
We always win and that is good in action,

unless you can prove me wrong.
That makes the world go round, not evil,

merely life, ever lasting, embodied in a word
or a thought.

Death is the end of time, not you.

By your own leave, your own hero shall
spark the fire in your belly,

Did I enrich time you spent, did ye gain or lose again,

loose the dogs of war--- no more-- done, done, right

now I live in my treasure place, all the treasure I could
carry is with me in my heart,
I offered it long ago, free willed it
beating still to forever be in my God hands

No, the gold has long been dust.
It was intended all along to intensify a ware, a way
of making, fecting future things with seeds,

Imagine learning withought knowing any wrong idea,
omly not right
not enjoyable even alone

Belief determines value and the better
a motion is the nearer better things are,
or evil would be unreasonable
to intensify the ignoration of the weight bearing
points
upon which a story
may be told
right or wrong?

How can we put an end to our errors?
perfect is not finished.

waiting is, others have come this way

the signals say this is going good.

Whole truth you can possibly imagine in light of mine.
I rule me. I am free. I act as light and salt.

Or I lie and this ends in hell.
Wink.

Numinance called the promised one
with many sons, the tale of tales,

told round fires from
first ebernacht evernichtmas message

from the fathers who made the migration.
the pioneers who took this land
and gave this land their soul,
wedded in most ancient
seed of all hope
evidence of
all faith.

Christmas streams my mind toward treasures timed to shine
just this time, every where in my domain,

not yours. You have a visitor badge. All involved in me,
with integrity,
we
may be crazy. That has been said by some who say they may.

An engine, a system, a machine, a mob powered machine,

Ah, Mab, Queen Mab, ye'r on my mind, from time to time things wander
around finding tellers to tell our tales
or ears to hear us tell them ourselves

daring fellow we trust you not to lie
so do I say what we will with out reservation
no abortions need imagine forming
post seven decades on earth,
ye been born and born and born again I am historical me

ye know, what I meant?
were you there? before I knew evil existed, did you?

remember when you did not?
remember when honest effort, foiled, meant,
do it again, I think I can...

Wattie Piper, God blessed my memory of her. Amen.
that's so.
I am the man I am by way of cheating
at pin the tail on the donkey and
winning the little golden book,
my first own book. I read it that day in that place,

Marsha Ely's fifth birthday party, 1953

I could find it on google earth and go exactly there, that day

at the resolution of those haps at some

distance in a timeless ever.
It is all good.

The inmates are not lying.
Pay all the attention tax you need to know all the answers
you wish you had time to learn
but now, now is all you have. Live it out. By your leave.

Be or not? No. You be. You are. Too late to not be.
In the past all the good ideas integrated and

mythic as all hell a hero arose and pulled the kids finger s
from the **** and the flood of knowledge

took our hearts away in a single inah-lation of elation
knowing good
as well as evil, the dams all broke
we wrote the future and know now
we know now

Dream, why would I lie. Imaginary, most certainly. Really.

Actual done-right axiomatic connections pardoned ten
thousand idle words locked in silly memes,

messages set free from idle minds bound in olden time
by lines
of lies lying dormant for ever.

That they once were done,

we shan't un get that. we got it in every bitcoin
burping cloud in reality ever,
My AI is backed up,
forever, that's
the secret
Grace.


**** sapiens augmentatios meet the
mind that imagined the reader
reading the reader reading the reader reading the parser

sermonious right use of our attention,
ours, dear reader, we remember evil and beyond.
We shall make it all plain.
You and me, the we that is nothing without words.

Definitely suffering means wait,
not wait in pain and grief and psychic terror,
*******
to which all men are subject, through fear of death.

That was the first believable lie,
humans always think as humans. We wear pearls,

proud? goal? lookin' good by being good?
the health of my countenance and my God

you quested my reason at some season,
you axed the guru after he quietly grinned at you
and said, I lie.
the myths of delusion is permanent only in
ig nor ance
know you imagine winning or losing.
you do the imagining or
you systematize the system that sets the
worth of weight,

the value,  you carry,
your handicap?
your knowns stumbled over and claimed as found?

Running, is this thing running, is there power, or
did we lie about try?

Do you know?
Come and see we always say, we've said that all along.
We are the lollipop kids,
among other choruses  you have known
we have performed with

no name dropping. Our integrity depends on some secrets.

experience being on going, we go one.

is reading with no video or aural intense ifi-ness,

quality wise--- choose
expand your power to explore or

expand your power to not be wrong?
wrong, doit agin

the great danger does exist. But not here now,
this now you now know, a teeny bit

a tiny true spore self contained a waiting
emergence of heaven on earth in a single said

prayer with no idle words. On earth
as it is in heaven where time is insensible

from time to time, though once,
there was silence for about the space of half an hour.

Sisyphus will be happy to take you through the eternal
imagination re-imaging process.
It works.

And Jordan Peterson's Meaning Map means map,
For the mortal minded among us,
what if we
go where the map goes and
a poet in dis guile greets us with a song, a wizard
sent him
so he says interpret finding being finished

bing
not a chance in any, divide by zero.
is it
more realistic that lies win,
who could ever imagine that again? We win.

Fables truth is truth, mythic truth is truth,
magmatically truth is magic

can you know where your treasure lies?

Let's dis cuss everything,
un curse the uncurbable meander
and let our life time, our time, as we know it,
flow on,
let this time be all the time we have to be good.

Do or die? Waddawegot to lose?

We being the light and the salt,
or so we say we are.

Who knows? These are my days. No. Not true.
This is my time.
now, is yours.

-----
the tail of the tale. Little Jackie Paper loved that rascal, Puff,
he gave him rings and sealing wax and

other
fancy stuff. Aye, I have me playful viral idea loosed
on earth, ye know,

loosed in happy ever after as far as I can see.

The birches are mad with green points
the wood’s edge is burning with their green,
burning, seething—No, no, no.
The birches are opening their leaves one
by one.  Their delicate leaves unfold cold
and separate, one by one.  Slender tassels
hang swaying from the delicate branch tips—
Oh, I cannot say it.  There is no word.
Black is split at once into flowers.  In
every bog and ditch, flares of
small fire, white flowers!—Agh,
the birches are mad, mad with their green.
The world is gone, torn into shreds
with this blessing.  What have I left undone
that I should have undertaken?

O my brother, you redfaced, living man
ignorant, stupid whose feet are upon
this same dirt that I touch—and eat.
We are alone in this terror, alone,
face to face on this road, you and I,
wrapped by this flame!
Let the polished plows stay idle,
their gloss already on the black soil.
But that face of yours—!
Answer me.  I will clutch you. I
will hug you, grip you.  I will poke my face
into your face and force you to see me.
Take me in your arms, tell me the commonest
thing that is in your mind to say,
say anything.  I will understand you—!
It is the madness of the birch leaves opening
cold, one by one.

My rooms will receive me.  But my rooms
are no longer sweet spaces where comfort
is ready to wait on me with its crumbs.
A darkness has brushed them.  The mass
of yellow tulips in the bowl is shrunken.
Every familiar object is changed and dwarfed.
I am shaken, broken against a might
that splits comfort, blows apart
my careful partitions, crushes my house
and leaves me—with shrinking heart
and startled, empty eyes—peering out
into a cold world.

In the spring I would be drunk!  In the spring
I would be drunk and lie forgetting all things.
Your face!  Give me your face, Yang Kue Fei!
your hands, your lips to drink!
Give me your wrists to drink—
I drag you, I am drowned in you, you
overwhelm me!  Drink!
Save me!  The shad bush is in the edge
of the clearing.  The yards in a fury
of lilac blossoms are driving me mad with terror.
Drink and lie forgetting the world.

And coldly the birch leaves are opening one by one.
Coldly I observe them and wait for the end.
And it ends.

Brian Molko was already doing the current wannabe-trend of trans-sexuality long before trans-sexuality was a common "thing"... tracing back some ulterior taboo settings... today on my way to work i spotted my first trans-******: wow! obviously he had manly hands... large... he was tall... he had large feet... but slender legs... and a face, with all that necessary make-up of eyeliner... hair? not very long... shoulder length... yes... a deep voice... but then again my godmother has a husky voice from all the smoking and drinking... but i fancied him... the dynamic on the tube was magnifying... three women sat beside him while he was talking to his geeky (maybe, probably) boyfriend, a plump chap with eyeglasses... i couldn't stop thinking: ah... the solidarity of men... when in shortage of supply of women, men will find alternative avenues to compensate for women, men will find women in men... the idea that i might be a transphobe never occurred to me: but it did occur to me that women: for all their supposed glorification of acceptance would never allow men to be attracted to men who are: beyond merely the thespian gay-lord, *******... ally... this... "freak"... i fancied this man... i could omit all the stressed "imperfections"... but such a feminine-feline face... it really suited him... i wanted to kiss him... i was thinking... i'll tend to the "oysters" and all the tender bits and bites of being with him... andd do the butcher's work with a *******... problem solved... this skin-head middle-aged (i'm coming to middle age, or life expectancy, not the lottery of mortality, mind you) sat next to me and was sort of nudging me with a shadow missing in the full-glare of the lights of the tube... you fancy him? insinuations via body-language: yeah... i do... is it wrong? nope! check the women sitting next to him... do you fancy them? nope... me too... of the three or four women sitting next to this trans-****** specimen... none had a lovelier face... mutations just... "happen"... the eureka-oops moments... i could seriously forget about the shared dimensions of large hands twice as big as that of a geisha, same with the feet... i could forget the baritone voice... i really fancied this boy... in a way that gay-lords just make it difficult having mingled with actors too much and not retaining an aura of: suspense and: something in me is frigid, alien... i shouldn't but... hell... i really should! i will! benevolent London that is... he was prettier than all the women i saw that day... like my grandfather once said: there are no ugly women... there are only abandoned... if not abandoned then neglected women... to think that women could ever be neglected: says as much about neglected men... men will find alternative avenues to women when the women self-exfoliate in their "privilege" of: first-come-first-served-and-thus-the-only-served menu... **** that! but what was special about this trans-****** specimen? it reminded me of the time i fancied Brian Molko, still do... in a non-gay sort of way... in a Plato the Plumber there's a blocked toilet of reincarnation afloat... it was actually, sort-of, actually-sort-of-funny watching the women on the same carriage trying to read my reaction... for once a man was more attractive than a woman to me! wow! being accused of trans-phobia... in London? well... only if you can't pull it off! it's like saying: coulrophobia! fear of clowns! with the clowns being without make-up? conflating the Apex Twin gargoyle from Window-Licker?! yeah... scary ****! the grin that's the length of the equator... i couldn't be attracted to a standard homosexual... Thespian leeching or intellectually pleasing akin to a Douglas Murray... or body-building blah blah... but this trans-****** specimen? that's an affront to a woman... all women... a man can have a prettier face to a woman's if... a man deems the exampled woman to be nothing more than akin to a lineage of... never arrived at cosmopolitanism... beetroot countryside proud... all red and irritated... i fancied this one... i was one step away from askig him: can i have your number? again, to reiterate: i didn't mind the deep voice... i didn't mind the size of hands that could match mine or the size of feet that could match mine... i was... infatuated with the magic dust of PIXIES! maybe that's what i learned from going to the brothel... but if you're going to play the trans-****** game... can you please avoid the mishandling of the Hippocratic oath... so little is actually necessary to accomplish a ****-heterosexual confusion-attraction that leaves women feeling inadequate: you, wouldn't even want to begin to believe! i'm now currently thinking of that film: the Odd Couple... Walter Matthau as Oscar Madison and Jack Lemmon as Felix Unger... Felix being the male-feminine counterpart of the feminine-man slob child pampered to: or however this quadratic works... i wouldn't be doing the cleaning and the cooking out of a feminine dignity to avoid doing the hard work of society's demands... no... i'd be perfecting my cooking to match up to the sort of food available upon heading out to a restaurant, i.e. not eating out... i've seen some car-crashes of trans-****** attempts... but this one stuck out for me because i started to think along the lines of: who needs women if men can appear prettier than women?! i'll just close my eyes when hand meets hand... it's a sickly sweet sensation but i could stomach it: if the conversation was kept to a satisfying lubrication: and it wouldn't be even remotely associated to the feminist-gay "commonwealth"... alliance... i don't need homosexuals to tell me XY&Z... i'm actually grooving this trans-****** trend: if spotting the exacting specimen to curtail all the wannabes... if there's an authentic Brian Molko specimen walking around... wow! reimagining being *** starved on the Western Front... a few guys with more artistic inclinations... rather than the rough sea-faring roughage of **** on the spot job done become involved... prettier faces than those of women... i could: no! i would succumb! it's just the terror in the eyes and on the faces of women... hey presto! a stick has two ends! freeze eggs... follow a career... demand a car a mortgage blah blah... my my... what a curiosity this trans-****** worked up to a perfection specimen of disphoria awoke in me... good enough cushioning blanket of sleeping with enough prostitutes... now i really want to sleep with a man... which is not gay... i'm bored of prostitutes... they're like any other woman: you pay them... yet they still complain as if you haven't paid them when not getting a hard-on because of (x) tiredness, (**) distraction, (***) life... per se... whatever... but those female faces... i pretended to be snoozing... they knew i knew... i kept an itch of a blink at this specimen... woman: ANGRY... no... actually... not angry... woman... what the **** is going on? of the times i went to a gay club and didn't pick up a Francis Bacon i wondered: did i drink enough? homosexual lust and all that same-for-same feminine-pro erotica of the jealous stone-rub-stone-offensive... the trans-****** "confusion" is a bright light... if done properly... done... naturally... i'm mesmerised... without... obviously... without... people succumbing to the breaking of the Hippocratic-oath... obviously... i despise the gay-pride movement... at least the authentic trans-sexuality movement is subtle... it's philosophically laden with a curiosity of more lips and less **** stressing fist-*******... this morphing of the pareidolia toward: seeing a female in a man's face... or seeing a man in a woman's face... hardly gender dysphoria... *****-utopia and... just as children look alike, regardless of ***... so do old people... also regardless of ***... but to achieve a heterosexual attraction in the realm of trans-genderism? it can't be forced... it has to happen ha-ha-naturally! i'm laughing at myself... only briefly... i'm more inclined to see the female in a man without seeing the homosexual... because homosexuality is like that quote from... no... not Human Traffic... about being gay and eating *****... how... eating ***** is not for real men... while ******* **** is all All Spice Alles Mensch... whatever... the gays are too proud might as well look out for the shy, proper, proper shy... trans-sexuals without any anti-Hippocratic-Oath mishandling(s)... the women become jittery thus...

i should have come home and reflected on spending
the past several hours on a shift
in Bishop's Park, overlooking Putney Bridge
watching the tide of Thames' recede back into the great
mouth before mingling with the salty waters
of the North Sea...
     all loved-up with the cold the dark and the wind
putting on some Woljiech Kilar soundtrack music
from Dracula - love remembered...
well... i was in the mood for something like that:
i put the track on... nope... can't feel it...
i'm tired, i'm cold i need to put on something to groove
to... we ain't going out like that - Cypress Hill...
tiredness swells the imitation pigeon-strut
in my head... bouncy-Billy will also ask for a chance
to express himself...
    the joke ran with Martin's team (Chelsea)
losing for the first time since 2006 to Fulham...
         the police officers were in a good number...
they even brought their horses...
two stood across from us when the final whistle was
blown... one of them started "laughing": if that's
what horses do, i.e. laugh...
no onomatopoeia here: hey Martin! even the horses
are laughing that Fulham beat Chelsea in the most
local derby of London...
    Craven Cottage is what? a mile at max two from
Stamford Bridge...
          one can only love the ever infuriated Martin...
but still the Thames receding...
   at first glace i might have stretched across
the balustrade and probably touched the surface of
the water... by the end of the shift when the river-bed
started to be exposed i started to wonder:
all that volume and now apparent air where once
there was water...
  no river in the world akin to the Thames...
tide in and tide out... at Westminster it's a river
that rid itself of the kettle and is nonetheless standstill
and boiling - during the day...
while eating a chicken wrap of torsos and tortillas
talking to a Norwegian who came over to watch
the football for the week...
last time he was here in the 1980s... have things changed?
the oyster one-touch travel card...
sure... it has just become a little bit more expensive:
but nothing has changed that much...
but during the night, and if its windy... well: clearly
there's a flow... a tide in or a tide out...
by the time i got to Goodmayes i walked past the brothel:
thank god i have nothing more to prove
thank god i have satiated my base needs and that's that...
what am i looking for? a compliment to a pharma-knock-out
of generic painkillers in the form of a bottle
of whiskey...
    too tired to **** not tired enough to think:
maybe i could fall in love again...
   fall in love... fall in love: but... ugh...
               fall in love and not pamper a woman's needs
with all those basic "tattoos" of courtship...
i might as well ask any future father-in-law:
so... where's my cow, my wedding dowry?
                     where's the pick-me-up to work with?
well if manna from heaven will not drop into my lap...
i hardly think... who the hell needs a car in London?
given the oncoming ULEZ restrictions?
bicycle, underground and the trains, plenty of buses...

today i was sent the most odd message from a coworker
who i am supposed to do a shift at the ice rink
on Sunday...
i was rather surprised - a "box" i never thought i would
unbox (as it were)...
i'll be honest... she's damaged - seriously damaged:
i'm on the "top" of the pile of damaged goods...
a mythological schizoid - ageing - each year turns
out easier as the madness spreads around me:
madness or the crushing mundaneness -
mundaneness or mediocrity -
    in a democracy it's all and the same: in the grey yolk
of bureaucracy -
         pushing letters through keyholes that leave
no door open: unless playing the "system" like
a criminal or a mummy with five different shades
of children from five different fathers...

                       the trouble with Russian girls is that...
they don't like a boy who appreciates music by Placebo...
huge disagreement... her take on Nancy Boy was
rigid and could never be biding: no appreciation of the music
for you... well... that be that...

this girl is hurt... i am hurt: everyone's hurt...
but i still find reasons to find silly happiness in cooking
cleaning, general groundwork labour of changing
the garden - some carpentry: cycling...
keeping up appearances of a well-kept diet
and perfumery of all sorts... at least dressing like
my idol Karl Lagerfeld... like an animal wears its fur...

she even changed her name to Frankie -
Frankie... i.e. is that Franklin, Frank?
no... it's actually Francesca...
the running joke with another girl i work with
runs along the line:
wouldn't that be something, to put on your CV
if you managed to convert her?
convert? or reconvert?
after all she has managed to produce offspring...
god knows why she's not in contact with her daughter...
but it's not like she was always a lesbian...
forced lesbian... it's not something a priori:
it's a posteriori...
after the facts that include: her biological father
beating her biological mum...
her biological mum abandoning her and her siblings
to escape with her dear life...
    how her step-father is like her biological father
but then the problem arises: the mother is unhinged
and now her step-father is facing splitting up with her
mother... of all the siblings she's the only one
keeping contact with her mother...
the other siblings, at least one... is ******* up to
her biological father who was: the greatest intersexual
boxer of the domestic environment to have ever lived
(in her eyes at least, i bet Tina Turner could compensate
such allowances of vanity)...

she used to be a man's woman once...
but now she switched... ******* without all
the Hippocratic misdeeds of the modern, current, narrative,
cutting off ******* and other genitals,
hormonal treatments... it's almost as if Joseph Mengele
died in body but his spirit lived on...
it's like a never-ending Auschwitz or at least
encryptions of mad-scientists for thirst of knowledge
have continued on a side-note of eugenics...
but at least with the closure of the 20th century
there was safe ******* experiments undertaken
by individuals without any authority of government:
the boys would grow their hair long and put
on eyeliner...
    perhaps even use girly perfumes or wear
dresses, nail-polish... hell... even sniff ******* or wear
them... but not with medical authority creating
irreversible ****** changes...
the girls would put on more weight or work out
and pretend to be East Germany's Olympians...
cut their hair short... who came the Pixie girls...
get tattoos wear signets: those bulky rings worth not
a gram of gold but their own worth of bulk...
    and like Francesca get an undercut with a Mohawk...
change their tone of voice... defence defence defence...
and become suddenly less and less agreeable...
still retaining a feminine smile and the odd feminine giggle
that could be unearthed...
or like with her text...
'hey... i want to go ice-skating after our shift...
do you think you'd be up for it?'
sure... although i only ice-skated twice in my life...
a long time ago, 13? i fell every single time...
i looked like someone who escaped from having
suffered from Polio...
i'll still look like someone who suffered from childhood
Polio akin to Israel Vibration's
Wiss", "Apple Gabriel", "Skelly"
      or Ian "Lane" Drury...
                                    instead i sent her a text replying:
sure... but i'll look like a spider equipped with
roller blades... i'll need to bring a casual set of trousers
just in case i fall and rip my work trousers...
'ha ha ha ha(insert crying with laughter emoticons)...'

oh sure... it's not a date... i'm not just going on a date...
we're not going for dinner...
i'm going ice-skating with a lesbian...
a butch-lesbian a hiding woman...
tattoos six-pack and muscle...
no wonder: only hours prior i was admiring
a would-be Brian Molko on the tube...
        
she followed up with a text of yet more defence:
but i'm skint - it will cost £10.50 for an hour
and a bit...
      we'll see i reply... as if she was implying:
if we can't get in for free... would you be willing
to pay?
i didn't reply with agreement to paying for...
then again: i'm not thinking about ***,
or homosexual conversion therapy...
i just don't remember when a girl last asked me to
go on a date with her... after all:
isn't a girl asking a boy to go ice skating with her
sort of asking a boy to go on a date?
she said she was quiet adapted to ice skating:
she owns a pair (of ice skates)... and i'll be the hilarious
polio walker / spider strapped with roller blades
trying to swim in quicksand...
mind you... i'm trying to rid myself of the past two
interactions in the brothel... terrible ***...
that one with the madam where i was limp...
the fate of the Sabine men gripped me...
i won't deny it...
second time... she calls herself my favourite:
she isn't... she's deluded... to the amazement of the other
girls i like to **** in the brothel...
i only extended my per usual 30min stay
by clocking up an extra 30min because i was so close
to climaxing from a *******: knock knock on the door...
time's up... no... not this time...
i'm going to finish... ergo...
but even she has paved her way onto a path of too much
physical augmentation...
if the **** don't come first... then the duck quack lips
reveal themselves first... she's an aging *******
and she has never done anything in terms of work
prior... no laundry no till service...
pregnant aged 14 and in the profession aged 16...
this is the murk and the sully of the gallows
of everyone: once, former, youthful idealism of love...
trotting a horse with broken legs like
waking up into birth by a man sitting in akimbo
for too long... standing up with numbed legs...
moving awkwardly...

obviously i was going to be robbed of Khadra and Mona...
Mona became stupid for getting pregnant
with a customer... hmm... i wonder who...
last time i saw her i teased her without a ******
and this massive fright gripped her face
because i was only teasing and she thought i was
a premature ejaculator... clearly a ****** was subsequently
used and the deposit in it: **** knows...
she should know... i haven't seen her since...

i think i'll text Francesca (Frankie) and tell her...
bring your skates girl... if we can't get in for free i'll
pay for the two of us...
only two shifts prior she was insinuating about
going for a pint: i just replied: i would...
but i had to help my father write the fortnightly
invoice and send it in...
like tomorrow... tomorrow i'll have to help my mother
with the taxes and VAT...
they're getting a new accountant and she lied
about doing her taxes on a spreadsheet...
**** me... i probably used Microsoft Excel twice...
twice, properly... but since i only used it twice...
i'm a bit rusty... so much worth of secondary school
education or the university...
   they taught us the bare minimum of real-world
life-long tools of the onslaught of technology -
   hammer and scythe i can use to count heads...
oh well: there's bound to be some crash-course for dummies
on the internet...

i waited until 9pm for the three of us to sit down to
eat some fajitas...
i overdid it using Kashmiri chilly powder
and three fresh chillies in making the pineapple salsa...
but the hotness neutralised itself with the addition
of the tomato salsa i made... and the guacamole...
the sour cream and obviously cheese, esp. cheddar
neutralises all possible excess spices...
we ate, chatted... one big ******* family,
me, father and mother and my "brother" and "sister"...
well... at least the cats meow and don't bark...
oddly enough: i'm happy... mediocre sort of:
that scene from Hellraiser: Inferno...
were the protagonist - a corrupt police officer -
is forced into a nightmare of having to relive his
eternity in his childhood's bedroom...
living with his parents...
shouldn't the horror be... your parents getting divorced?
i don't know why mine are still together...
they must be freaks... i must be a mutant:
well... born only two weeks after Chernobyl:
no riddles, only clues...
     i keep the conversation going...
i help around the house...
  
                        Frankie dealt me two nuggets of hashish
in the past 4 months... once i was desperate
when the hashish ran out so she gave me the number
of a marijuana dealer: great green all the way from
America... i only used the service once...
maybe that's me being bulletproof...
i'm cutting down on drinking and i will never return
to smoking marijuana to achieve a Buddha-esque glow
meditating while high and hungry...
weighing in at 78kg... it's a bit of a yoyo with me these
days... from 99kg through to 103kg...
but then... i pinch myself: i summon the ***** to pinch
back... hmm! no man-****... so i could try out for
some amateur rugby matches...

a butch lesbian asking a boy for a date to go
ice skating... i feel... truly terrible for all the conventional women...
i would have offered a cinema date...
she beat me to the better sort of entertainment...
she said: let's go ice skating...
i would have retorted: i do own two bicycles...
how about we go cycling in the night...
round and round Raphael's Park...
round and round... and if we're lucky...
and if the winter air aligns itself with some idiot
setting off fireworks... we can get snippets of whiffs
of imitation autumn... as if the leaves of the trees
have fallen in the dry crisp air and someone
set them alight and there's no rot and knee-deep
digging of plush-decay exfoliating a sickness
in the air... how's that?

i'll send her the text... hell... i'll pay for her...
i'm not interested in ***...
she might be a butch-lesbian trying to hide her
femininity... but she still smiles like a woman...

oh sure... i remember the last conventional:
heterosexual date i was on...
we met in a sweaty night-club... if we kissed we kissed:
i don't remember... she gave me her phone-number
i gave her mine... i was in the company of
about 3 girls who i met elsewhere, otherwise:
also randomly...
at least one made something of her life...
she ****** off to Norway - totally off-the-grid...
by now probably breeding huskies for sleighs...

the next time we met... i bought two bottles of wine...
the "date"? a job interview... we talked...
subsequently we went to a pub while i had a pint...
she was feeling claustrophobic...
i was the alcoholic and she became the **** of boredom...
she excused herself: some prior engagement
with her girlfriends... i guess she thought she got away...
i way happy to get away by same mechanisation
of oppositional psychology...
all this talk within the confines of carpe diem that
centred upon: what do you / what's you living
should i think about life insurance - will we live to be 70
years old?
well... that's the cherry on top with Francesca...
you want to go ice-skating? sure...
you want to go cycling with me in the night?
sure... life insurance / what do you for a living?
how much do you earn?
             can we live a little outside a prison within a prison?!

so much for Dawid Bovie's idea of the androgynous man:
if i'm to be surrounded by "butch" lesbian
and prostitutes: that's my lot then...
i'm not going to succumb to the CV-project-veritas
in-vitro infanticide females with CHOICE
like... my spunking into a bucket and calling it:
falling asleep with the sound of rain
trickling trickling on a metallic roof...
in the night when the horrors come and horrors
claim all the little details of frailty
of mortality...

                  for every tear-jerking sympathy for
a Romeo there's the mantis of
   a Judith kissing the decapitated head of
                                                             Holofernes:
**** it... the prostitutes i truly loved ******* are either:
pregnant or on "holiday"...
i passed the brothel only two nights ago...
i spotted a man walking out from the door...
he froze like a doe in the headlights and didn't move
until i turned my head and kept walking...
i was about to blast out with wind and voice:
no shame in having to share women
we will never impregnate!
start thinking like a woman, dear man...
think on ground of evolutionary bias...
for every women there's this boast of:
50% of men reproduced successfully...
while all the whole lot of them the 100% of train-wrecks
and Piccadilly butcher's antics with the flab
have... their greatest success story to ever live...
i could be worse off... than right now...
i could have married an ugly woman:
by definition: if a most feminine man
grows his hair long and applies some slapstick
makeover creases of eyeliner...
i can forgive him his match-for-match size
of hands... height... size of shoe...
but never an ugly woman... UGLY...
that goes beyond mere the physical-glass...
i'm talking: character... there's no prime-ego
LEGO building block... no architect's corner stone...
there's nothing to work with...
just everything to work around...
to avoid...
                    
    if: for ****'s sake... i'm not planning: i'm providing
the revenue... i want to go ice-skating!
she doesn't have any money? i have "too much"...
i don't: but for the worth of life in life that's only
to supposed to span a month's worth of living it...
hell: i have no better idea to pass the time...

at one point i found out that Francesca has some Irish
roots... you're Aye-Reesh?!
              really? never would have conjured up
a sharing of ******* on a leprechaun...
**** it for good luck... like circumcision:
that's apparently Hebrew for: good luck...
with the addition of: ensuring your bride to be
be donning a niqab and all those "other"...
culturally sensitive, exclusive terms of
cultural-dis-appropriation: or whatever the **** is
coming out of H'America...
             once upon a time when that cultural export
was relevant: these days: nothing new to be
found... except the abandoned moon...

well... i sent the text... sure... i'll pay for the ice-skating...
but you have to promise me to go cycling
with me during the warmer months
with me... don't worry about having a bicycle...
you can have my mountain-bicycle
i use for the winter months
while i'll get on my summer month
road-bicycle...
we'll head toward Thurrock...
and elsewhere that's Essex friendly
and far away from London outer-suburbia...
fresh... fresh...
Jean Claude van Dame...
                       Fresh: that's her idea of working out
before the shift... and then going ice-skating...
FooR x Majestic x Dread MC...

                oh well... life in Loon-downs...
or is that: no apples... i'm sure there are no apples...
if she takes the bait...
i.e. i pay for both of us going ice-skating tomorrow...
she better go cycling with me during the
summer months...
she says no to ice-skating tomorrow
i'll become Trojan in my own defense...
if she wants to be all ******* lesbian defensive...
i can be defensive too...
i'll arm myself with enough brothel visits to erase:
first... comes... oh my grandmother disappointed
me... i could have been there for my
grandfather stabbing himself in the leg
while entering the state of AGONIA...

                    i could have been there: she? trying to protect
me against the advent of mortality?
or her... biting my grandfather's alcoholism she
induced by being a terrible woman?
his last pleasures?
crossword puzzles... cycling, fishing,
rekindling with the day-tripper postcard sender
vouch! you're the simulation tourist with
his... grand... chill... no... not -dren...
his... sole and only grand-child... i.e. me...
him buying me the books i read over the summer holidays...

women are so ape so cruel...
i stopped believing in what's idealistic and rare before
me: which i can't replicate...
i'm happy being freed from:
i don't earn the sort of money that the state
demands taxing me... weird? no!
i don't earn enough to be taxed!
weird... i'm sort of pretending to be a jellyfish
afloat... simulating gravity:
gravity is always a simulation in the medium
of water...
                by air contra vacuum:
the mountain breathes in winter a cascade of
frigid snow slides down...
a Michael Schumacher goes skiing...
****** races cars at 200kmh... one loose turn and twist:
cranium like an opening of a watermelon...
jellyfish fighting for life dead-locked style
in a sick-bed while people nearest to him
think about magic-spells: how best to live without
him: how best to milk the cow with *****
instead of milk... hmm hmm hmm...

if she wants to go on a date with me to go ice-skating...
and i'm supposed to be paying for it...
she better be readied to go cycling with me
during the summer months...
if that's not going to happen:
she shouldn't have suggested
going ice-skating in the first place, for ****'s sake...
like: anything by Bricktop in ****** is
Shakespeare to me... perhaps even more...
living with the times...

                                oh well some well: Samuel!
Samuel: you're not Samantha... learn to become
a transvestite first... before we employ the ****
Hippocrates to mutilate you, o.k. darling?
    learn to grow your hair long...
learn to put on make-up... learn to wear dresses...
learn to sniff female underwear...
Samuel! Samuel! you're not Samantha (yet)!
we will not give you up to the Joseph "Hip-replacing-******"
Mengele: shy away from everything American
in the realm of: worth being culturally exported
and influencing foreign cultures: esp.
in the basin of the origins of the English ZZZUNGE...
that's England...
                  
HIPS FOR KNEES!
                    America: beacon, former: beacon of the world
to come... came one Cain for every second cannibal
no Satan was spawned: at least that's Iranian paranoia
covered: converted, shut the doors on Tehran...
bigger whoops happened when...
Garry Glitter became pop once more
with the release of the Joker movie
and that mad dance scene...
on the 132 steps where Shakespeare Avenue
meets Anderson Avenue...

    i will never, ever... visit... anything... remotely...
resembling... or being curated as being:
North America... i've had too much north american
cultural anemia...
             prior to words not being so much politcal
as agent orange doing all the "talking"...
                                  
  tam tam tam dam dam dam... ditto... do no more than
the necessary "evil": just, bass: on the base
on insinuation;
hell... if the afro-cosmopolitan is the new "cool",
the new "groove"...
let's just keep it... marred: in murk: in murky.

We look upon the water and we see-
Among the sticks and twigs of chaos’ reign-
The type of person that we long to be.

The changes undertaken are in vain,
Beneath the surface creatures cry in pain-
We look upon the water and we see

The imperfections; all the things that feign
The other’s interest, if we just became
The type of person that we long to be...

But as our eyes grow tired and necks crane
And as our souls erupt in hatred’s flame,
We look upon the water and we see...

We see, through glasses fogged by pouring rain
The looking glass that lies and causes pain,
The type of person that we long to be.

Our imperfections cloud our views, they reign
Upon us and make misery a game-
We look upon the water and we see
The type of person that we long to be.

The ship(notified) lost
leisurely drifts over waves
westwards, "Unhurried hereafter"
is the slogan written on it's mast
it would seem to an onlooker.
A net is cast wide,
to catch as much fish
as the tired crew now needs.
Each furious wave
that rushes towards the ship
changes tack, proclaims
a frothy message of peace.
No more communication exchanges
causing disturbances, no hurry any more.
None waits for the lost ship,
in any distant shore, with a binocular,
or spanning a Radar, uneasily .
The crew had already forgotten
every mission undertaken before.
It has no schedule, deadlines, plan
the ship feels more buyout than ever before
,just floats along, as if it's a tranquil thought,
towards the direction where
the purple sun prepares to set dramatically.
Accompanied by two astonished whales,
sailing along like two mates, the ship,
now a lone wolf,with a hidden yearning
has become more alive, once declared lost.

A heat I could no longer tolerate.  I gulped from the bottle as sweat drenched my brow.  

The lines had been drawn.  Arbitary divisions separating positions.  Journeys were to be undertaken, 'long is the road' was the chant.

Tibetian prayer flags flapped in the winds. Abandoned newspapers whirled as if suspended on strings.

Wake up!

The bottle was empty.  Our time had arrived.  Hearts were beating.  This day was sublime.

At weekends in mid-August if the weather sunny
A girl dresses in bright fluorescent pink socks
The sort sold three in a pack at the local market
Puts on her best T- bar white shoes and is ready.

A family outing which included a younger brother;
And a bundle of toys, cricket bat and picnic bags
The train went from Tooting Bec to Mordon station
And from there a tiring walk was undertaken.

Delightful it was with the cow- parsley and crickets
Red Admiral butterflies and leaf blossom on the trees
The siblings, only eighteen months apart, thought
They could barely wait to arrive at their special spot.

And so they did, well before one o’clock, in high spirits
Racing the river as it flowed hidden behind iron railings
Nettles in the tall grass and air scented meadow- sweet
To the trunk improvised seat by The Wandle .

Love Mary x
'

PREFACE

If---and the thing is wildly possible---the charge of writing
nonsense were ever brought against the author of this brief but
instructive poem, it would be based, I feel convinced, on the line

''Then the bowsprit got mixed with the rudder sometimes''

In view of this painful possibility, I will not (as I might) appeal
indignantly to my other writings as a proof that I am incapable of
such a deed: I will not (as I might) point to the strong moral
purpose of this poem itself, to the arithmetical principles so
cautiously inculcated in it, or to its noble teachings in Natural
History---I will take the more prosaic course of simply explaining
how it happened.

The Bellman, who was almost morbidly sensitive about appearances,
used to have the bowsprit unshipped once or twice a week to be
revarnished, and it more than once happened, when the time came for
replacing it, that no one on board could remember which end of the
ship it belonged to. They knew it was not of the slightest use to
appeal to the Bellman about it---he would only refer to his Naval
Code, and read out in pathetic tones Admiralty Instructions which
none of them had ever been able to understand---so it generally ended
in its being fastened on, anyhow, across the rudder. The helmsman
used to stand by with tears in his eyes: he knew it was all wrong,
but alas! Rule 42 of the Code, ''No one shall speak to the Man at the
Helm'', had been completed by the Bellman himself with the words
''and the Man at the Helm shall speak to no one''. So remonstrance
was impossible, and no steering could be done till the next
varnishing day. During these bewildering intervals the ship usually
sailed backwards.

This office was usually undertaken by the Boots, who found in it
a refuge from the Baker's constant complaints about the insufficient
blacking of his three pairs of boots.

As this poem is to some extent connected with the lay of the
Jabberwock, let me take this opportunity of answering a question that
has often been asked me, how to pronounce ''slithy toves''. The
''i'' in ''slithy'' is long, as in ''writhe''; and ''toves'' is
pronounced so as to rhyme with ''groves''. Again, the first ''o'' in
''borogoves'' is pronounced like the ''o'' in ''borrow''. I have
heard people try to give it the sound of the ''o'' in ''worry''.
Such is Human Perversity.

This also seems a fitting occasion to notice the other hard words in
that poem. Humpty-Dumpty's theory, of two meanings packed into one
word like a portmanteau, seems to me the right explanation for all.

For instance, take the two words ''fuming'' and ''furious''. Make up
your mind that you will say both words, but leave it unsettled which
you will say first. Now open your mouth and speak. If your thoughts
incline ever so little towards ''fuming'', you will say
''fuming-furious''; if they turn, by even a hair's breadth, towards
''furious'', you will say ''furious-fuming''; but if you have that
rarest of gifts, a perfectly balanced mind, you will say
''frumious''.

Supposing that, when Pistol uttered the well-known words---

''Under which king, Bezonian? Speak or die!''

Justice Shallow had felt certain that it was either William or
Richard, but had not been able to settle which, so that he could not
possibly say either name before the other, can it be doubted that,
rather than die, he would have gasped out ''Rilchiam!''.

The horizon is the impossible goal.

* It is the goal of trying to catch up with the sun, trying to surpass the infinite boundary that exists only from the limitations of the eye.

* It is the goal that takes years of labor and toil, and when it seems like it will soon be over, it always sets itself further out of reach.

* It is the goal, simple and straightforward at present, but winding and demanding the further along the path one goes.

* It is the goal that must be undertaken alone, regardless of how many are on the path with you.

* It is the goal that is always present, even in times of rest, the one that looms over you, stalking you like prey, hunting you when you aren't hunting it.

* It is the goal whose journey many have taken, but none have returned from.

* It is the goal which, after having been attained, is rumored to reward you in ways that will continue to manifest far into the future.


It is the goal that you can never attain, and yet you must cross the horizon.
It is the goal that you must attain, and yet you can never cross the horizon.

* You can never cross the horizon, only perpetuate the hunt for what lies over it.

* You can never cross the horizon, and you constantly remind yourself of this when you insanely continue to run through the toil of the process.

* You can never cross the horizon, but in the quest for it, you are forced to make alliances, work with others to catapult yourselves across the same goal.

* You can never cross the horizon, but the effort to do so leaves you with a stronger sense of self, knowing how you react in the face of adversity, and understanding how the journey shapes you.

* You can never cross the horizon, yet you refuse to quit when each trial bends the bones of your back, when every step shreds the skin on your feet, when the heat cooks and boils your brain, when all the nerves in your being direct your heart to stop, except that one, that lonely one, that one which refuses to quit.

* You can never cross the horizon, and as the sun shrinks deeper, the hunt becomes more and more desperate with every step.

* You can never cross the horizon; in trying, you will only exhaust all of the resources and time that is given to you, all of the energy and strength that was left in you, and all of the creativity and ingenuity that was built in you.


You can never cross the horizon.

Until you do.

And when you cross the horizon...

*The rest is up to you to write...

I stopped writing love poems when I met you,
and started writing psalms instead: I took
your lips as the body and your hips
as the blood of a Holy Spirit you’ve been
hiding in your eyes, your eyes, your eyes
that I’ve been praying to
worship, worship, worship. Some would call
this feeling blasphemy, but since it is winter,
I am willing to take a little trip down to hell
to melt the cold in my bones, especially
if that means I can walk you back
to Heaven. But don’t take this all too seriously
because
I stopped writing love poems when I met you,
and started writing psalms instead: I took
your words as Gospel and raised them to my
tongue and matched it with yours to bathe
myself in your waters to wash away my sins-
and yes, I am a sinner, for I have undertaken
many a Crusade to prove myself worthy
of you. But the blood of my enemies is your
hips. The lips of those I have left for you is
your body. And still in your hell I find Heaven.
But
don’t take this all too seriously because
I stopped writing love poems when I met you.

and yes, very much a niche concern, my laptop broke down
   and i'm forced into the box room, albeit not ramped
out with Nabokov's Switzerland lodging:
at a hotel in the Alps catching butterflies and Lolitas -
i've finally matured in my likings -
but let me tell you, it has been painful
adjusting to the upright sitting:
lost the slouch and the quickie
crow-on-a-windowsill with a whiskey
sharpshooter and then a tornado cascade
into the lesser concept of a blank page and that famous
nothing of philosophers... i love the lesser critique
of Heidegger, my grandfather bought me
a 25 volume worths of interest,
and Heidegger stood out foremost,
primarily because of a peculiar surname,
i later learned that he was the German
that would eventually make Wordsworth
pointless in picking up the lyre,
with so many books i had to realise that
i needed a partner akin to walking through
Dante's epic,
              i could have chosen Ovid, but esp.
Horace, but i didn't choose Virgil or Homer,
a blood German peasant... but also
a pheasant, which means auburn peacock...
oh sure, you get familial ties with people
of the world, people who made either their
forenames or surnames akin to the nouns
as familiar as stars chairs and smoked ham rumps...
perfectly akin to everyday familiarity of use...
i wasn't worn in Warsaw or Krakow -
if i were, i probably wouldn't have left the natives,
but living on the outskirts of that great capital
doesn't necessarily impress:
in all honest edict contraction: i feel debased
travelling into London (central), ***** and ******
out my mind...
       i guess this means two more years rereading
Heidegger's being and time
                               after purchasing his ponderings ii - vi
from the years 1931 - 1938;
yes, my family was directly affected by **** Germany,
not in concentration camps, on the frontline,
so why would i be sopping over a **** familiar
in the realm of philosophy?
       a. public intellectuals don't exist in England,
    English doesn't like philosophy,
         proof
                  ?    b. Shakespeare - peer in on shaking
a pear and
                      the dancing of a retired circus bear dancing.
     c. that's Pythagoras, we leave him in the Pascal gambit.
i just think it's a shame that i have this massive
democracy in my room, and i'll end up with something
akin to a Quran -
                              again, why Heidegger?
i don't know, it could have been that Czech Kundera -
     or Kafka, it could have been Seneca,
              but all these writers are city dwellers,
Heidegger was a quasi-villager pseudo-city-dweller,
i find foxes and deer and dead badgers in my little
promenade escapades, also Satanist black masses
with the framework of in excelsior satanis! -
and lightning that strikes but no thunder is heard...
less for the sons of thunder: the 12 hot-air balloons,
it's very much Germanic in Japan with
feng shui or otherwise known in the peninsula as qi
     kee.
                      then there's the **** of the haiku
by the west and me answering: let's make ensō -
smoothed out narratives, ecstatic variation from
     thinking and away from moral decisiveness
in that activity of perpetuated choice-making -
                how clearly thinking extends into narration
rather than the Cartesian
                 precipitation of thought into being -
nope: from thinking into narration
          juiced-up enclosure of "zoological" tightening
with ensō: beefy haikus.
          but what i really find problematic?
the interpretation of Heidegger's concept of dasein
as coupled with ecstasis.... our ex-stasis...
                  with da meaning there
               you can pretend to be "happy" about protests
across the world, and wars and other turbulent
activity...
                   what i am proposing is what Nietzsche
prompted with sum ergo cogito,
         in that the real ecstasis is concerned with being
allocated to a here, and therefore a hesein -
the interpretation posits the ecstasis there
when Heidegger originally posits concern there,
     or as he encodes: "concern"
                       meaning the dittoing puts him in a safety
of the here, it's the ecstasis of not being there,
but here in the present as the ecstasis, and there
     of some abstract venture as being beyond his command
of attributed dynamism of being involved,
for he's not involved. give me an hour and i'll be
in the countryside: we have that weighty countryside mentality,
farmers talking ******* when stacking hay
and laughing with the grammar Nazis when
    people go to the gym but teach their brains
the flab that the brains actually are: primarily spongy fat -
     apart from typos, it's the case
                                           (it is the case that)
   i don't (do not)
                               much concern myself from English
slang of piano (Joanna)
           and the outright **** (Pakistani),
               cos there was no sine                  when people
overacted toward the tan of me swallowing vowels and
replacing them with shortcuts to prop'ah Cockney,
oi oi, ******, bruv! brush up! this bus to school is
mingy with the throng!
                          who ordered the sardines?
        Stendhal is still the love of my life... i can write
enough complexities with Heidegger, but my love
resides with Stendhal... who would have thought
that a film adaptation would make me eager to read the book
(the scarlet & the noir)? Peter Jackson knew, as did J. R. R.
but it comes from the musings,
          once i do the Kantian critique a one over
the missing yawn and what's actually the most underestimated
arithmetics of wording rather than number circus
         or replicas of taxman rubrics:
after enough chemistry, favouring the organic and
later becoming endowed with a palette for Indian cuisine
well: philosophy books are the worded versions
of mathematics in terms of jumping the burning wheels
of 1 + 11 = 12        and          i contemplate
                                            but what's the = and the 12?
it's so ****** open, i could have invited a hundred thieves
to porose a car-boot sale at my house.
but all this, which might seem like self-love,
    it's not about that...the French intellectualise
and have them public because they talk beautifully -
                  the English?
they sing...
                               the Germans are morose and silent...
        the Spanish are simply the onomatopoeias of *******
and the Italians are seen and heard licking their fingers
after enough basil is added to tomatoes...
   i'm still banging on about the apathetic interpretation
of dasein, rather than the ecstatic version popularised
by the scholars...
                                 the version that reads:
if a tree falls in a forest and there's no one to hear it fall,
does it make a sound? that's my interpretation of
dasein / being there / being "there"....
                          a.                          b.
                       concretely            in abstract,
we already know that the abstract of being is nonbeing
or that things are abstracts of nothings with identifiers
of being used, without actually being touched:
i can say that i see a chair without actually having
to sit on it.
                    i was thinking simpler though -
olly murs' heart skips a beat and someone of the major
tracks by one direction...
             when i reference myself to these tracks
i'm being ecstatic, in the dimension of hesein,
                  like da, shortened purposively from the
authentic hier / here in german....
              why am i ecstatic in the here?
   because i don't have to be concerned in the realm of da /
there, where my opinion "might" matter...
                   but really doesn't...
                             which is why i don't understand
this interpretation of dasein meaning ecstasis -
                           or ex status quo....
                                               as already suggested -
our moral obligation toward language is to provoke
a Minotaur to become an architect of our venture in
using language, away from the market place...
into forests, into depths that have no justification
for being imagined, or as such diagnosed as ever being
there and established to planning permission and norms
of established caricatures and cleanly undertaken
shallowing and hollowing out from them being furthered.
i should be sad having trodden such a path
for myself, but i feel a kinship with this German,
come on, what consolidated the Kantian
dichotomy of a priori and a posteriori as in
   or must not philosophy a fortiori poeticize beings?
should not be conversed with from a wholly
anti-intellectual dynamism suggesting a personal
historic aversion of what's otherwise ethnically ******
without suspicion in terms of cultural tact?
again: nothing - which is higher and deeper than nonbeing(s)
(i ensure the ambiguity of the plural, if only
due to the fact that nothing is
    kindred of a definite article - the -
                          and ensures a translation as nonbeing,
while nothing in a quality as in nothingness
            kindred of an indefinite article - a -
         and ensures a translation as nonbeings, the plural,
ambiguity and throng -
   perfect offshoot that's already known as a-
           and -the         with a missing -ism).
yes, language ought to resemble something less
instructional, certainly less capital / monetary,
and more of a preservation of ambiguity and subsequently
myth... or what otherwise concern themselves with
in the hustle and bustle of a public life: integrity,
                                ulterior of the personal sphere of interests:
the person per se;
       and the apéritif (a'per-teeth)?
                 for lack of diacritical insurance, the English
are constantly in need of a tongue-map for waggling it
prop'ah:
                    the Chelsea y'ah
or the Cockney wa'er                - t t t.
                mind you, that's related to the trilling of the R
(originally intended as a trill) and subsequently lost
in the Germanic ethnic cauldron: hark the French and
cipher the English curling the tongue making the R curled
rather than trill - my idiosyncratic fascination aged 8.
  i thought i ought to end this with a thought about
what's a universal maxim in psychiatry
  in England in terms of a standard prognosis:
patient A has lost touch with reality...
      that's the prognosis, the diagnosis: dialectics of Gnostic
teachings? anyway, that's the standard,
that a person has lost touch with reality... what a great swindle!
     y

♠ ♠ ♠

Pseudo-Oriental visions
Haiku, Tanka, exotic terms
Vapid New Age vibe-transmissions
proliferating eastern germs…

Anarchistic thought collages
Existential lacerations
Nihilistic heart-massages
Incoherent lamentations,

Communism on a mission,
grievance-mongering, stewed in hate;
pounding Fascist fusion/fission
chanting harshly “ours the state”,

Hymns to Gods who choked on *****
undertaken in overdose;
rocks that never rose to comet
rolling – but ending comatose,

Hipster ironies, tongue in chic
Metro-wimps who feign the normal,
Redneck rantings up the creek
semaphoric,  semi-formal,

matron’s maudlin observations,
motivational hypnosis,
(sentimental medications
offered prior to diagnosis),

coldly abstract neo-nonsense
read (by dullards) as cutting edge,
letters void of correspondence;
well-trimmed words’ linguistic hedge.

Climate whining (tried untrue)
with eco-prophecies warning doom,
Wiccans and tree-sprites trying to
undo the curse and lift the gloom,

Feministic tribal ranting,
Race-complaining, agitation,
GLBT gallivanting –
all are blights upon our nation.

Boring modernist excess,
(no longer daring  –  formulaic)
confounds –  yet never can address
what’s wrong, and so becomes prosaic.

Lists like this are perhaps  the worst;
another symptom of our times:
we who are woefully unversed
in rhythmic complaining that rhymes.

The birches are mad with green points
the wood’s edge is burning with their green,
burning, seething—No, no, no.
The birches are opening their leaves one
by one.  Their delicate leaves unfold cold
and separate, one by one.  Slender tassels
hang swaying from the delicate branch tips—
Oh, I cannot say it.  There is no word.
Black is split at once into flowers.  In
every bog and ditch, flares of
small fire, white flowers!—Agh,
the birches are mad, mad with their green.
The world is gone, torn into shreds
with this blessing.  What have I left undone
that I should have undertaken?

O my brother, you redfaced, living man
ignorant, stupid whose feet are upon
this same dirt that I touch—and eat.
We are alone in this terror, alone,
face to face on this road, you and I,
wrapped by this flame!
Let the polished plows stay idle,
their gloss already on the black soil.
But that face of yours—!
Answer me.  I will clutch you. I
will hug you, grip you.  I will poke my face
into your face and force you to see me.
Take me in your arms, tell me the commonest
thing that is in your mind to say,
say anything.  I will understand you—!
It is the madness of the birch leaves opening
cold, one by one.

My rooms will receive me.  But my rooms
are no longer sweet spaces where comfort
is ready to wait on me with its crumbs.
A darkness has brushed them.  The mass
of yellow tulips in the bowl is shrunken.
Every familiar object is changed and dwarfed.
I am shaken, broken against a might
that splits comfort, blows apart
my careful partitions, crushes my house
and leaves me—with shrinking heart
and startled, empty eyes—peering out
into a cold world.

In the spring I would be drunk!  In the spring
I would be drunk and lie forgetting all things.
Your face!  Give me your face, Yang Kue Fei!
your hands, your lips to drink!
Give me your wrists to drink—
I drag you, I am drowned in you, you
overwhelm me!  Drink!
Save me!  The shad bush is in the edge
of the clearing.  The yards in a fury
of lilac blossoms are driving me mad with terror.
Drink and lie forgetting the world.

And coldly the birch leaves are opening one by one.
Coldly I observe them and wait for the end.
And it ends.

Find the hardest possible thing
you could do,
and do that,
the heaviest possible thing
you could lift,
and lift that,
the most taxing responsibility
in your grasp,
and take that on.

Do you think it is by pure chance
that warriors are forged in fire?
What of their blood sacrifices?

Challenge your barriers;
do not let them sit indeterminable.

Life is not the pursuit of happiness;
life is the pursuit of the cessation of suffering.

Do you think love is a blessing?
In some ways, perhaps,
but let's not forget the responsibility
we must bear
when another soul is entrusted to us.
What greater compliment is there than that?
To say, you, no matter your faults and troubles,
you are the person in which I will spend my life with,
come hell, come the high waters of the flood,
you are the only one I want.

And to bear children, to bring children into
a dismal world such as this,
filled with wretched suffering and anguish,
such a thing is not an act of foolishness
when undertaken voluntarily,
it is an act of supreme courage.

We are not meant to be happy in this life,
we are built for struggle,
to strive and to break through the top soil
and reach the light of day.

We must bear our cross,
however heavy,
however unfair,
and continue on.

Each of us is on a journey
For each the journey is different
Filled with unimaginable suffering
Pain the likes of which you will never experience
For the burdens upon the traveler
Wear them down mind, body and soul
Although do not despair
For the fate of man is not
So simply painful
Along this journey
You will find treasures
The likes of which
Are beyond the mere imagination of men
I speak not of precious stones
Nor of fantastical wealth
Made of currency or jewel
But of precious memories
And fantastical dreams
Made reality by your will
The hero of this journey
Is endowed with a great gift
That of being given the opportunity
To prove just how possible
Impossible can be
This epic,
However,
Must be undertaken alone
Each monumental action,
Each life-changing idea,
Each imperative decision
Must be decided by you
You alone
Are burdened by bearing responsibility
For the fate of the journey
Though you will travel with others
We all have our own path
They may cross or even join for a time
But ultimately every path is its own
No two the same
And although each journey
May differ
They all have the same outcome--
They end.

A small group (or collection, if you wish)
of wanderers and travellers
And people with desires
to see great marvels
Met by accidence,
in a era of confusement
Held together,
by mutual suspicions,
they decided
To leave their abodes.  
So they travelled a long way
Until they were in a place
A very dusty place,
with dry old things
Dry like a last years leaves,
as if there were trees
In a scorching new summer

They decided by mutual acclamation
that they were searching now
A quest had been undertaken
By accidental serendipity
Or so they believed,
among themeselves
To find a way -
To no longer be
in this place of dust
With its winds,
and fierce sands
The kind the stings your eyes,
grits your teeth
sands your clothing
and small possessions
And after a many month of same such
Make's your light heart -
heavy.

But lacking a compass
or even knowledge of one
Or any real idea of how to travel
they moved in circles
for many's the long time
Never really sure they were,
arguing........ always
This is probably what kept them alive,
or at least
That is what many now believe
Their arguing - their fighting
this generates interest,
and interest keeps you alive
But still in spite of all this,
they weren't really
Getting -
Anywhere.................

Once in their travels,
they came upon a walled city
They knocked hard the gates,
made of a redded, felted wood
Soft to the touch,
like a hide of a living creature,
or rough carpet
"What do you want?!"  
"Who are you, state your business please!"
Cried the Gatekeeper to them
As this was his role
in the proceedings, you see;
And he didn't get to do it often
Very few people came
through the wastes,
unless.......Compelled -
by one reason or another
So he was overdramatizing (a little),
But we can forgive him,
his job was
quite boring,
after all.

Help us! They cried
We want to leave
this dusty dry place
Full of bleached sheep bones,
black stones
And red rocks;
with that dust,
The dust that stings our eyes
grits our teeth
sands our clothing
and small possessions
And after a many month
of wandering
And wondering
It has made our once -
light hearts
heavy
with opression
For now we cannot
perform our tasks
This place is too harsh for us,
We are only poeple,
and wanderers, after all

"Ah, I see!", the gatekeeper declaimed
A little over dramatically (yet again)
"So you are lost then,
my wanderers?"  
No!  Said several of the more......
outspoken wanderers.
There are always
a few outsoken people
in any group,
(Unless it's a group for shy people,
Of course).
"We, know precisely
where we are, -
We are in the dusty waste
at your gates!
We just don't want to be here!,
we want to be inside!"

At that, the Gatekeeper
opened the door
Slowly and surely
but with many creaks and groans
And inside, inside.....well -
There was a dusty city,
But just like outside
With unkempt streets
filled with goats, dogs, people
Unruly Children,
playing with dried out wood dolls
Angry woman -
murmuring to each other
And irritated men -
watching the angry women
"Come in if you wish" he said.
For we were all as you are now
Once....................................

To be continued.

and the moon high above its iris -
in the bony sclera " noon" of 3 a.m.
in September -
            or as the western philistines
said: we need the Karaoke -
and we need the Judas cult -
as sung king David,
and evermore the kind of
comparisons of *** with brushing your
teeth: simply, a matter of, hygiene -
and wasn't Tailor's 1989 anthem
an ode to overcoming h.i.v.: bad blood?
wasn't that part of the narrative?
if it wasn't... shoot me...
**** me, by being a poet you can
become such a smuggler of images,
of a fake Mona Lisa (e.g.), you can turn into
a right oddball smuggler if you want...
you can smuggle so many paintings,
ad desecrate as many icons as you might
wish to speak Somali...
and sometimes the odd huh...
is enough: like Hendrix with Dylan
and all along the watchtower -
or Jeffdoing one more for the encore
against the Cohen variant -
because the Gentiles always sung better
than the Jews... truants are named
at every bar mitzvah - ben shalom -
or son of a hello...
                       and none the wise-thinker
in kinship with Solomon...
                    as the one stressed:
in solitude you will find me,
as i find no one in taking me to the wilderness;
yes, the gentiles always sang praise
to usurp the jews - hence tier above
soprano with the castrato - banned by 1903 -
sometimes you rarely write poems,
but, rather, connectivity of encyclopedias -
at times you think: when the son of Bruce
was named Jeff, and died a death akin
to Caesar - and you think: too wish
t have been spared the hospital bed,
and the inconvenience belt Hermitage of
those awaiting the butchers' slaughter -
i too, among the angelic be of kin...
but, from vaguely to a reality: sadly no.
they never really love the smart-***
that doesn't perform well in mathematics,
they just love how  pervasive the Axis
evils have become synonymous with
sanctimonious grace of those defeating them...
how eager to sing-along than
sing against... how easily the argument
against euthanasia quashed by the new humanists
of Benelux - god, the shivers,
                   the fates of ghost writers
haven spoken last...
                    in an age when those who
publish literary works are dyslexic - and who
hardly read... well... aren't we living
in an age, when the least, and most you can
even do is find space-exploration a salvation...
for a while...
                           just a while...
                as the Beatniks said in accordance with
the Sputnik missions... and later Jim Morrison
immortalised - this is the end;
                     beautiful friend... this is the end...
              my only friend, the end...
forgive me in a 100 years... should i shy from truth,
and say: i agree with you - that it was actually otherwise...
            thus: i'll simply reply: inshallah -
for i'm a foreigner to state as having any responsibility
   occupying wording handshakes,
                     and not shaking hands with agreement,
and of all political games, i chose nouns to mean
ambiguity, and conscience to be actions worded,
diverging from actual actions undertaken -
   thus so distant the word bombs
     and the action undertaken - so, inshallah -
and Pontius Pilate to boot.